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Book_       _.  H^T 


'RESENTED   IIY 


Scanned  from  the  collections  of 
The  Library  of  Congress 


AUDIO-VISUAL  CONSERVATION 
at  The  LIBRARY  of  CONGRESS 


Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 
www.loc.gov/rr/mopic 

Recorded  Sound  Reference  Center 
www.loc.gov/rr/record 





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AGAZINE- 


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THE  UNKNOWN 
CHARLIE  CHAPLIN 

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JIM  TULLY 


HOLLYWOOD'S  YOUPGER  SET  Ay  adela  Rogers  st. johns 


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'LWGRTH  CO  5-10  CENT  STORE 


CLARA    B  O  W 


JOAN  CRAWFORD 


JOAN    BENNETT 


L    I    LA      IE    E 


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HJS^ 


ANITA   PAGE 


JUNE  COLLYEI 


ESSIE    LOVE 


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3_   JLAT^' 


YOU  can  meet  the  critical  eye  of  your  own  particular 
"public". . .  confident  that  your  hair  is  smartly,  trimly 
dressed ...  so  long  as  a  Lorraine  Hair  Net  is  on  guard! 
Unruly  locks...  long  or  short... stay  JUST  as  you  wish 
them,  for  as  long  as  you  wish  ...with  a  Lorraine  Hair 
Net!  You  can  depend  upon  it . . .  the  well-dressed  head 
wears  a  Lorraine  Hair  Net! 

Lorraine  Hair  Nets  are  smartly  shaped,  snugly  fitting. 
No  finer  hair  nets  are  obtainable.  Yet  they  cost  but 
10c  each . . .  exclusively  at  F.  W.  Woolworth  Co  Stores ! 


Jo 


ALL  COLORS,  INCLUDING  GREY  AND  WHITE 


Orrame  Hair  Nets 


Lorraine  Hair  Nets 

Double  or  Single  Mesh 


Lorraine  Bobbed  Nets 

FortheBoborGrowing-in-Bob 


Lorraine  Silk  Nets 

Made  with  Elastic  Edge 


CUT  OF  PUBLISHflU  BMiBbei^s  birring 


The    New   Movie    Magazine 


CAMERA    WINKS    ROGUISH    EYE    AT 

DOMINANT  DIRECTORS, 
PETULANT  PRODUCERS,  AGREEABLE  YES-MEN! 

SAUCY  SLAPS  vXTi&CREEN  CELEBS! 


WHAT  HAPPENSJO  BRpA^VAY  STARS  IN 
^OLttrW©OD1% 


with 

Alice  White 

Jack  Mulhall 


Come  to  one  of  the  famous  Hollywood  film 
premieres  you've  heard  so  much  about  .  .  . 
Lunch  at  Montmartre  with  all  the  stars  .  .  . 
See  "Show  Girl  in  Hollywood" —  the  finest  reel- 
life  comedy  ever  filmed! 

More  doings  of  tempestuous  Dixie  Dugan  (of 
"Show  Girl"— remember?) 

With  glorious  color  scenes,  irresistible  songs 
gnd  chorus  numbers,  and  lots  of  stars! 

Directed  by  Mervyn  Leroy.    Color 
scenes  by  the  Technicolor  process. 


\\°  ■  .veted  trademark  of  fy    *#© 

A     *v  •  *    *rXm  ,.  ct  €>. 


Lttl 


The  New  Movie  Magazine 

One  of  the  Tower  Group  of  Magazines 
Hugh  Weir — Editorial  Director 

Features 

Cover  Painting  of  Lila  Lee  by  Penrhyn  Stanlaws 
The  Unknown  Charlie  Chaplin .  .Jim   Tully     24 

An  emotional  analysis  of  the  famous  comedian   by  the  celebrated  author. 

The  Drama  of  Lila  Lee Evelyn    Gray     28 

Miss  Lee's  absorbing  life  story  is  the  story  of  motion   pictures. 

Hollywood's  Younger  Generation Adela  Rogers  St.  Johns    32 

The  flaming  youth   of  yesterday   compared  with    that  of  today. 

The  Stars'  Own  Favorite  Stars Grace  Kingsley     36 

Even  as  You  and  I,  the  stars  have  their  own  idols- 

The  Low-Down  on  Hollywood  High  Life Herbert   Howe     42 

Moviedom's    difficulties    in     adjusting    itself    to     Eastern   social   customs. 

You  Can't  Get  Away  from  It Rosalind  Shaffer    46 

Children  of  stage  folks  always  turn  to  acting. 

The  Penalty  of  Beauty George  Chapin     51 

Why  Fay   Lanphier  deliberately  gave  up   the  pursuit  of  beauty. 

Home  Town  Stories  of  the  Stars Charles  W .  Moore     52 

How  "Pete"  Brimmer  grew  up  to  be  Richard  Dix. 

We  Have  with  Us  Tonight Homer  Croy    56 

Another  big  Hollywood  banquet   is  given  by  New   Movie. 

Up  from  Poverty  Row , Dick  Hyland     66 

The  picturesque   romance  of  Dorothy  Revier  told  for  the  first  time. 

The  Heart  of  Greta  Garbo Adela  Rogers  St.  Johns    83 

How  the  Famous  Star  came  to  the  aid  of  Gavin    Gordon,  Kentucky  mountain  boy. 

Visits  to  the  Famous  Studios 88 

The  first  of  a  series  of  picture  tours  of  the  great  motion  picture  sttidios. 

Departments 

Gossip  of  the   Studios 19 

What  they  arc  talking   about   in  Hollywood. 

The    Hollywood    Boulevardier Herb  Howe     54 

Screcnland's  most  popular  raconteur  tells  some  new  ones. 

Dollar  Thoughts 58 

New   Movie   readers  express  themselves  about  things. 

Reviews   of  the  New   Films Frederick   James   Smith     85 

Brief  and  accurate  comments  upon   the  important  new  photoplays. 

First  Aids  to  Beauty Ann    Boyd  102 

Advice  and  rules  for  charm  and  attractiveness.  v 

Frederick  James  Smith — 'Managing  Editor 

Dick    Hyland — Western    Editorial    Representative 

Published  monthly  by  Tower  Magazines,  Incorporated.  Office  of  publication  at  184-10  Jamaica  Ave.,  Jamaica,  N.  Y.  Executive 
and  editorial  offices:  55  Fifth  Avenue,  New  York,  N.  Y.  Home  office:  22  North  Franklin  Street,  Wilkes-Barre,  Pa.  Hugh  Weir, 
Editorial  Director;  Catherine  McNelis,  President;  Theodore  Alexander,  Treasurer;  Marie  L.  Featherstone,  Secretary.  Vol.  2.  Number  1, 
July,  1930,  printed  in  the  U.  S.  A.  Price  in  the  United  States  $1.20  a  year,  10c  a  copy.  Price  in  Canada  $1.80  a  year,  15c  a  copy. 
Copyright,  1930  (trademark  registered),  by  Tower  Magazines,  Incorporated,  in  the  United  States  and  Canada.  Entered  at  the 
Post  Office  at  Jamaica,  N.  Y.,  as  second-class  matter  under  the  Act  of  March  3,  1879.  Nothing  that  appears  in  THE  NEW  MOVIE 
MAGAZINE  may  be  reprinted,  either  wholly  or  in  part,  without  per  mission.  The  publisher  accepts  no  responsibility  for  return  of 
unsolicited   manuscripts. 

Applicant  for  Membership  in  the  Audit  Bureau  of  Circulations 


The  New  Movie  Magazine 


Something  to  it  —  There's 
something  to  a  dentifrice 
that  wine  leadership  in  4 

years. 

LISTERINE   TOOTH 

PASTE,    25e. 

Not  one  out  of  ten  escapes  this  social  fault 


Can  you  be  sure  that  you  never  have  halitosis  (un- 
pleasant breath)?  Are  you  certain  at  this  very  mo- 
ment, that  you  are  free  of  it? 

The  insidious  thing  about  this  unforgivable  social 
fault  is  that  you,  yourself,  never  know  when  you 
have  it;  the  victim  simply  cannot  detect  it. 

Remember,  also,  that  anyone  is  likely  to  be  troubled, 
since  conditions  capable  of  causing  halitosis  arise 
frequently  in  even  normal  mouths. 

Fermenting  food  particles,  defective  or  decaying 
teeth,  pyorrhea,  catarrh,  and 
slight  infections  in  the  mouth, 
nose,  and  throat — all  produce 
odors.  You  can  get  rid  of  these 
odors  instantly  by  gargling  and 
rinsing  the  mouth  with  full 
strength  Listerine.  Every  morn- 


ing. Every  night.  And  between  times  before  meeting 
others.  Listerine  halts  fermentation  because  it  is  an 
antiseptic.  It  checks  infection  because  it  is  a  remark- 
able germicide.*  And  it  quickly  overcomes  odors  be- 
cause it  is  a  rapid  and  powerful  deodorant. 

Keep  a  bottle  of  Listerine  handy  in  home  and  office 
and  use  it  always  before  meeting  others.  Then  you 
will  know  that  your  breath  cannot  offend.  Lambert 
Pharmacal  Company,  St.  Louis,  Mo.,  U.  S.  A. 


LISTERINE 
ends  halitosis 


*Though  safe  to  use  in  any  body 
cavity,  full  strength  Listerine  kills 
even  the  Staphylococcus  Aureus  (pus) 
and  Bacillus  Typhosus  (typhoid) 
germs  in  counts  ranging  to  200,000,- 
000  in  15  seconds  (fastest  time  ac- 
curately recorded  by  science). 


10c  size  on  sale  at  all  Woolworth  stores 


MUSIC  of  the  Sound  Screen 


The  New  Movie's  Service  Department,  Reviewing  the 
Newest    Phonograph    Records   of    Film    Musical    Hits 


NOW  that  Amos  'n' 
Andy  can  be  looked 
upon  as  screen  folk, 
since  they  have 
been  signed  by  RKO  for 
special  productions,  their 
first  record  comes  within 
the  scope  of  this  depart- 
ment. The  record  comes 
from  Victor. 

On  one  side  is  "I'se  Re- 
gusted,"  which  depicts  the 
tribulations  of  Andy  in  a 
shoe  store  when  he  disre- 
gards the  advice  of  Amos. 
The  other  presents  "Check 
and  Double  Check,"  and  shows  how  Andy  instructs 
Amos  in  gymnasium  exercises.  The  climax  comes 
when  Amos  declines  to  co-operate  further  in  unlaxing 
and  holding  his  breath.  Messrs.  Correll  and  Gosden 
(the  real  Amos  'n'  Andy)  are  excellent  in  both  Victor 
skits. 

THE  popular  John  Boles  is  represented  by  two  attrac- 
tive Victor  records  this  month.     On  one  he  sings 
his  two  numbers  from  "The  King  of  Jazz" :  "It  Hap- 
pened in  Monterey"  and  "The  Song  of  the  Dawn."   The 
Mable  Wayne  waltz,  "It  Happened  in  Monterey,"  is  one 
of  the  music  hits  of  the  year,  by  the  way,  and  Mr. 
Boles  sings  it  delight- 
fully.    The  other  John       .-k       ^         . -.,.^.    ^  -  ,v    ,,-- 
Boles  record  offers  two 
of    his    numbers    from       ¥■, 
"Captain      of      the 
Guard":      "For     You"       1 
and     "You,     You     All 
Alone." 

Maurice  Chevalier  is 
present  with  another 
swell  Victor  record. 
You  will  love  his  rendi- 
tion of  "All  I  Want  Is 
Just  One,"  which  is 
one  of  the  outstanding 
numbers  of  "Para- 
mount on  Parade."  The 
reverse  side  of  this 
record  carries  his  sing- 
ing of  "Sweepin'  the 
Clouds  Away,"  which 
is  another  of  his  "Par- 
amount on  Parade" 
hits. 

COLUMBIA  presents 
a  new  Buddy  Rog- 
ers record.  Turn  to 
Herb  Howe's  comments 
on  page  54  and  you  will 
learn  more  about  Bud- 
dy's phonograph  activ- 
ities. This  new  Co- 
1  u  m  b  i  a  record  offers 
two  of  his  best  songs 
of  "Safety  in  Num- 
bers" :  "I'd  Like  to  Be 
a  Bee  in  Your  Bou- 
doir" and  "My  Future 


RECOMMENDED  RECORDS 

"All  1  Want  Is  Just  One" 

Maurice  Cheva 

lier  (Victor) 

"It  Happened  in  Monterey" 

John  Boles  (Victor) 

"A  Bee  in  Your  Boudoir" 

Buddy  Rogers 

(Columbia) 

"I'se  Regusted" 

Amos  'n'  Ai 

idy  (Victor) 

Just  Passed."  Buddy  does 
both  of  these  numbers  ex- 
cellently. You  will  want 
this  record,  particularly  if 
you  are  a  Rogers  fan. 

One  of  the  best  Victor 
records  of  the  month  of- 
fers Victor  Arden,  Phil 
Ohman  and  their  orchestra 
in  two  attractive  fox-trot 
numbers  from  "The  Cuck- 
oos" :  "Dancing  the  Devil 
Away"  and  "I  Love  You  So 
Much."  We  recommend 
"Dancing  the  Devil  Away" 
as  a  corking  record  number. 
With  Johnny  Morris  singing  the  vocal  refrain,  Paul 
Specht  and  his  orchestra  offer  fine  fox-trot  renditions  of 
two  "In  Gay  Madrid"  numbers:  "Into  My  Heart"  and 
"Santiago."  This  is  a  Columbia  record.  You  will  hear 
more  of  "Into  My  Heart"  in  the  coming  months.  It's 
a  hit. 

npHE  "KING  OF  JAZZ"  is  getting  a  big  play  from 
-*■  the  record  makers.  For  Columbia,  Paul  Whiteman 
has  made  three  "King  of  Jazz"  records.  The  trio  offer 
these  song  combinations:  "The  Song  of  the  Dawn"  and 
"It  happened  in  Monterey,"  "Happy  Feet"  and  "I 
Bench  in  the  Park,"  and  "Ragamuffin  Romeo"  and  "I 

Like  to  Do  Things  For 
jmmmmB^^^M^^^^m^^^m       You."    Another  attrac- 

1||  tive  Whiteman  record 
offers  two  songs  of 
1  "The  Big  Pond" :  "You 
Brought  a  New  Kind 
of  Love"  and  "Livin'  in 
the  Sunlight,  Lovin'  in 
the  Moonlight." 

For  Columbia,  Grace 
Hayes  sings  two  "King 
of  Jazz"  numbers:  "I 
Like  to  Do  Things  For 
You"  and  "My  Lover." 
For  Victor,  George  01- 
sen  and  his  orchestra 
play  "The  Song  of  the 
Dawn"  and  "It  Hap- 
pened in  Monterey." 
This,  by  the  way,  is  a 
fine  dance  record. 

C  PEAKING  of  the 
^  Olsen  orchestra  re- 
minds us  that  this 
band  has  made  good 
dance  records  of  "High 
Society  Blues," 
"Honey"  and  "Montana 
Moon." 


John  Boles,  who  stars  in 
"Captain  of  the  Guard," 
is  represented  by  two 
excellent  Victor  records 
this  month.  The  best  of- 
fers his  song  hit  "it  Hap- 
pened in  Monterey." 


The    New    Movie    Magazine 


YOUR  LINENS  ARE 

ALWAYS  SO  BRIGHT 

AND  NEW-LOOKING, 

MRS.  BORDEN 


THAT'S  BECAUSE 

I  USE  RINSO.    IT 

WASHES  CLOTHES 

WHITER,  WITHOUT 

SCRUBBING 


\s- 


£!_* 


I    MUST  TRY  RINSO 
...  I'VE  HEARD  SO 
MUCH  ABOUT  IT 


IT'S  A  VERY 
ECONOMICAL 

SOAP  AND 

ABSOLUTELY 

SAFE 


m. 


1  ■  * 


ONE  WEEK  LATER 


YOU'LL  FIND  THEY 

LAST  LONGER,  TOO.. 

FOR  THEY  AREN'T 

SCRUBBED 

THREADBARE 


these  women 

"You  oughyo^  ^  gt  Loms  woman 
comes  out;       Robert  Ave.  h  clothes, 

'^nloTl^an  Diego,  Cal. 

U  „«**  ******  ^ 

y0«  wwr  «*f  »**  GO  bar  soaps, 

„       ,  need  for  tub  or  washer  wice 

RinS°  "  ^aS  soTeaers.  Cup  for  cup,  «J         ven  ,w 
chips,  powder    »  g^  Pufe^na  £***■ 

?  rf;;^becaSuse  it's  F^^ading  washers 
&*<ferf  «^<r    u    ,       hc  makers  of  3»  *  at  for 


The  makers  of  v5  O  leading  washers 
recommend   Rinso 


for  whiter  washes 
in  tub  or  machine 


SIZES 


most    women    buy 
rhe  large  package 


for  dishes,  floors 
and  all  cleaning 


Janet  Gaynor  and  Charlie  Farrell  are  co-starred  again  in 
Society  Blues."     Here  they  are  in  a  fanciful  flash-back 
days  of  chivalry. 


Group  A 


Sarah  and  Son.  Ruth  Chatterton  in  another  "Mad- 
ame X"  of  mother  love.  This  will  surely  get  your  tears 
and  hold  your  interest.     Paramount. 

Song-  O'  My  Heart.  John  McCormack  makes  his  screen 
debut  in  this  charming  drama,  in  which  his  glorious 
lyric  tenor  is  superbly  recorded.  He  does  eleven  songs. 
The  story  is  expertly  contrived  to  fit  the  world-popular 
Mr.  McCormack.   Fox. 

The  Vagabond  King.  Based  on  "If  I  Were  King,"  this 
is  a  picturesque  musical  set  telling  of  Francois  Villon's 
career  in  the  days  of  Louis  XL  Dennis  King  and 
Jeanette  MacDonald  sing  the  principal  roles,  but  O.  P. 
Heggie  steals  the  film  as  Louis  XL    Paramount. 

Street  of  Chance.  The  best  melodrama  of  the  year. 
The  story  of  Natural  Davis,  kingpin  of  the  underworld 
and  Broadway's  greatest  gambler.  Corking  perform- 
ance by  William  Powell,  ably  aided  by  Kay  Francis  and 
Regis  Toomey.     Paramount. 

The  Rogue  Song.  A  great  big  hit  for  Lawrence  Tib- 
bett,  character  baritone  of  the  Metropolitan  Opera 
House.  The  tragic  romance  of  a  dashing  brigand  of 
the  Caucasus,  told  principally  in  song.  Based  on  a 
Lehar  operetta.     Metro-Goldiuyn. 

The  Green  Goddess.  Another  fine  performance  by 
George  Arliss,  this  time  as  the  suave  and  sinister  Rajah 
of  Rokh,  who  presides  over  a  tiny  empire  in  the  lofty 


Brief  Comments  Upon 

the  Leading  Motion 

Pictures  of  the  Last 

Six  Months 


Himalayas.  You'll  like  this.  Warners. 
Anna  Christie.  This  is  the  unveiling  of 
Greta  Garbo's  voice.  'Nough  said.  It's 
great.  We  mean  Greta's  voice.  Be  sure 
to  hear  it.     Metro-Goldwyn. 

Devil  May  Care.  A  musical  romance  of 
Napoleonic  days,  with  Ramon  Novarro  at 
his  best  in  a  delightful  light  comedy  per- 
formance. Novarro  sings  charmingly. 
This  is  well  worth  seeing.  Metro-Goldwyn. 
Lummox.  Herbert  Brenon's  superb  vis- 
ualization of  Fannie  Hurst's  novel.  The 
character  study  of  a  kitchen  drudge  with 
Winifred  Westover  giving  a  remarkable 
characterization  of  the  drab  and  stolid 
heroine.  A  little  heavy  but  well  done. 
United  Artists. 

The  Love  Parade.  The  best  musical  film 
of  the  year.  Maurice  Chevalier  at  his 
best,  given  charming  aid  by  Jeanette  Mac- 
Donald.  The  fanciful  romance  of  a  young 
queen  and  a  young  (and  naughty)  dip- 
lomat in  her  service.  Piquant  and  com- 
pletely captivating.     Paramount. 

The  Show  of  Shows.  The  biggest  revue 
of  them  all — to  date.  Seventy-seven  stars 
and  an  army  of  feature  players.  John 
Barrymore  is  prominently  present  and  the 
song  hit  is  "Singin'  in  the  Bathtub." 
Crowded  with  features.      Warners. 

Welcome  Danger.  Harold  Lloyd's  first 
talkie — and  a  wow !  You  must  see  Harold 
pursue  the  sinister  power  of  Chinatown 
through  the  mysterious  cellars  of  the 
Oriental  quarter  of  'Frisco.  Full  of 
laughs.     Paramount. 

They  Had  to  See  Paris.  A  swell  comedy 
of  an  honest  Oklahoma  resident  dragged 
to  Paris  for  culture  and  background.  Will 
Rogers  gives  a  hilarious  performance  and 
Fifi  Dorsay  is  delightful  as  a  little 
Pariesienne  vamp.     Fox. 

The  Trespasser.  A  complete  emotional  panorama  with 
songs,  in  which  Gloria  Swanson  makes  a  great  comeback. 
You  must  hear  her  sing.  Gloria  in  a  dressed-up  part 
— and  giving  a  fine  performance.     United  Artists. 

Sunny  Side  Up.  Little  Janet  Gaynor  sings  and  dances. 
So  does  Charlie  Farrell.  The  story  of  a  little  tenement 
Cinderella  who  wins  a  society  youth.  You  must  see 
the  Southampton  charity  show.  It's  a  wow  and  no  mis- 
take !    Fox. 

The  Lady  Lies.  In  which  a  lonely  widower  is  forced 
to  choose  between  his  two  children  and  his  mistress. 
Daring  and  sophisticated.  Beautifully  acted  by  Claud- 
ette  Colbert  as  the  charmer  and  by  Walter  Huston  as 
the  widower.     Paramount. 

Hallelujah.  King  Vidor's  splendid  and  sympathetic 
presentation  of  a  negro  story.  Dialogue  and  musical 
background  of  negro  spirituals.  With  an  all-colored 
cast.     Metro-Goldwyn-Mayer. 


"High 
to  the 


Group  B 


Sweethearts  and  Wives.  A  swell  mystery  yarn  with 
nearly  a  perfect  cast.  Murder  and  a  beautiful  girl 
(otherwise  Billie  Dove)  in  lovely  distress.  A  corking 
performance  by  Clive   Brook.     First  National. 

High  Society  Blues.  A  sequel  to  "Sunny  Side  Up," 
with  Janet  Gaynor  and  Charles  Farrell  co-starred  in 


GUIDE  to  the  BEST  FILMS 


songs  and  dances.  Pleas- 
ant entertainment.   Fox. 

Honey.  Nancy  Carroll 
in  a  pleasant  little  senti- 
mental comedy  with 
songs.  Lillian  Roth, 
Harry  Green  and  little 
Mitzi  Green  lend  a  lot  of 
help.    Paramount. 

Puttin'  on  the  Ritz.  In- 
troduces the  night-club 
idol,  Harry  Richman, 
to  moviedom.  The  ro- 
mance of  a  song  plugger. 
Mr.  Richman  gets  swell 
support  from  Joan  Ben- 
nett, Lilyan  Tashman 
and  James  Gleason. 
United  Artists. 

Men  Without  Women. 
The  action  takes  place  in 
a  submarine  trapped  on 
the  floor  of  the  China 
Sea.  The  harrowing  re- 
actions of  the  crew  face 
to  face  with  death.  Grim 
and  startling — and  full 
of  suspense.     Fox. 

Seven  Days'  Leave.  The 
tender  and  moving  story 
of  a  London  charwoman 
in  the  maelstrom  of  the 
World  War.  Beautifully 
acted   by   Beryl    Mercer 


George  Arliss  gives  a  splendid  performance  in  the  new  talkie  version  of  "The  Green 
Goddess",  and  he  gets  excellent  aid  from  Alice  Joyce. 


as  the  scrub-woman  and  by  Gary  Cooper  as  the  soldier 
she  adopts.    Paramount. 

Son  of  the  Gods.  Notable  for  another  fine  Richard 
Barthelmess  performance.  The  yarn  of  a  young  Oriental 
who  collides  with  racial  prejudices.     Superb  perform- 


ance by  Constance  Bennett  as  the  girl  he  loves.    First 

National. 

This  Thing  Called  Love.    A  racy  and  daring  study  of 

marriage    and    divorce    with    Constance    Bennett    and 

Edmund  Lowe  giving  brilliant  performances.     Pathe. 

The  Marriage  Play- 
ground. Another  study  in 
divorce,  based  on  Edith 
Wharton's  "The  Chil- 
dren." Sympathetic 
story  and  beautiful  act- 
ing by  Mary  Brian. 
Paramount. 

Half  Way  to  Heaven. 
Buddy  Rogers  as  a  kid 
aerialist  in  love  with  a 
pretty  trapeze  perform- 
er, Jean  Arthur.  Buddy 
was  never  better.  Pleas- 
ant entertainment.  Par- 
amount. 

The  Vagabond  Lover. 
Rudy  Vallee,  the  idol  of 
the  radio,  makes  his 
screen  debut  as  a  young 
bandmaster  trying  to 
get  along.  He  does  well, 
but  Marie  Dressier  runs 
away  with  the  picture. 
You  will  find  this  en- 
tertaining.  Radio 
Pictures. 


Maurice  Chevalier  lifts 
"Paramount  on  Parade' 
from  mere  mediocrity  to 
flashing  moments.  Here 
he  is  as  a  French  gendarme 
in  his  song,  "All  I  Want  is 
One  Girl." 


Photograph  by  Preston  Duncan 


EDMUND  LOWE 


12 


LEILA  HYAMS 


Photograph  by  Hurrell 


CONRAD  NAGEL 


14 


JOAN  CRAWFORD 


LON  CHANEY 


16 


RUTH  CHATTERTON 


Photograph  by  Hurrell 

17 


"Photograph  by  Russell  Ball 


GLORIA  SWANSON 


18 


The  New  Movie  Magazine 


Gossip  of  the  Studios 


D 


Gary  Cooper:  "My  darling 
little  Gary,  I  lofe  you,"  says 
Lupe  Velez.  The  Velez-Cooper 
romance  continues  to  simmer. 


OUGLAS  FAIRBANKS  has  gone  to  England 
with  Leo  Diegel  and  George  von  Elm  to  see  the 
international  golf  matches.    Mary  Pickford  re- 
mains at  home  in  Hollywood,  to  start  work  on 
her  new  talking  picture, 
"Secrets." 

As  this  is  the  first  time 
since  their  marriage  ten 
years  ago  that  Doug  and 
Mary  have  been  separated 
for  any  length  of  time, 
rumors  of  trouble  in  the 
Fairbanks  household  be- 
gan to  fly  as  soon  as  Doug 
had  actually  departed. 

Both  Mary  and  Doug 
have  treated  any  such 
idea  with  silent  contempt. 
The  fact  is,  probably,  that 
these  two  famous  stars 
have  decided  to  compro- 
mise certain  tastes  and 
plans  for  the  future.  Mary 
is  wrapped  up  in  her 
picture  work.  She  is  not  only  making  a  picture  of  her 
own,  but  anyone  who  knows  anything  about  it  will  tell 
you  that  Mary  Pickford  is  the  chief  factor  in  all  of 
United  Artists  plans  and  that  she  keeps  a  close  eye  on 
both  business  and  production. 

Douglas,  on  the  other  hand,  has  lost  a  lot  of  his  en- 
thusiasm about  making  pic- 
tures. He  wants  to  travel 
and  do  many  other  things. 
Mary  has  never  cared  great- 
ly for  a  roving  life  and 
sporting  events  don't  hold 
the  thrill  for  her  that  they 
do  for  her  athletic  husband. 
In  consecpience,  this  first 
trip  of  Doug's  without  his 
wife  simply  indicates  that 
while  there  is  no  rift  in  the 
domestic  happiness,  they  in- 
tend in  the  future  to  fulfill 
their  own  desires.  There 
isn't  anything  very  unusual 
about  that.  Plenty  of  wives 
don't  trail  around  after 
their  husbands  when  they  at- 
tend polo  tournaments  and 
golf  matches,  and  with  much 
less  reason  for  staying  home 
than  Mary  Pickford  has. 
And  many  men  with  as 
much  money  and  as  definite 
a  success  behind  them  as 
Douglas  Fairbanks  choose  to 
devote  more  time  to  play  and 
less  to  business. 


AiM>!«XANi? 


So  there  you  are.     Seems  fairly  normal.     We  doubt 
greatly  that  anything  further  will  come  of  it. 


Did  you  know  that  Lon 
Chaney  used  to  sing  in 
Gilbert  and  Sullivan 
operas  f  And  that  his 
voice  will  be  heard  in  four 
parts  in  his  coming  pic- 
ture—  his  first  talkie  f 
You  will  hear  him  as  an 
old  woman,  a  ventrilo- 
quist, the  ventriloquist's 
dummy,  and  a  parrot. 


pOLLEEN  MOORE  has 
filed  suit  for  divorce 
against  her  husband,  John 
McCormick. 

John     has     sailed     for 
Honolulu  and  Colleen  is  living  alone  in  the  beautiful 
home  she  recently  built  in  Bel-Air.     Her  mother  and 
one  of  her  closest  friends,  Julanne  Johnson,  are  vis- 
iting her  there. 

This  divorce  is  the  end  of  a  romance  that  began  when 
Colleen  was  a  little  known  actress  and  John  McCor- 
mick was  a  press  agent. 
Their  careers  Avere  built  to- 
gether, until  Colleen  became 
the  biggest  box-office  attrae- 


Dolores  Del  Rio:  Wants  good 
pictures  rather  than  good  stel- 
lar close-ups.      She  let  Eddie 
Lowe  steal  her  last  film. 


the  feminine 
and  John  was 
First  National- 


tion  among 
screen  stars 
head  of  the 
studios. 

Everyone  who  knows  them 
feels  a  deep  regret  over  their 
parting.  Colleen  intends  to 
go  to  Europe  for  some 
months,  unless  a  highly  satis- 
factory picture  contract  now 
in  the  offing  is  signed. 

Personally,  we  hope  Col- 
leen won't  follow  her  own 
desire  and  retire  from  the 
screen  to  travel  and  study 
sculpture.  We  would  miss 
her  bright  comedy  sadly.  So 
far,  no  one  has  appeared  to 
take  her  place. 


HP  PIE  toughest  assignment 

of  the  screen  year,  in  the 

opinion  of  most  Hollywood 


19 


All  the  News  of  the  Famous  Motion  Picture 


experts,  has  been  handed 
to  Joan  Bennett,  who  is  to 
do  "Smilin'  Thru"  for 
United  Artists.  To  follow 
Norma  Talmadge  in  her 
greatest  picture  and  her 
finest  performance,  while 
the  movie  audiences  still 
remember,  is  a  big  order 
for  so  young  an  actress  as 
Joan  Bennett.  If  she  suc- 
ceeds, it  Avill  be  a  real 
feather  in  her  cap. 


Joan  Bennett:  Has  the  toughest 

assignment  of  the  year  in 

"Smilin'  Thru" 


Florenz  Ziegfeld  of  Fol- 
lies fame  is  in  Hollywood 
working  on  the  United  Artists  lot.  He  says  the  1930 
girl  should  be  a  brunette,  no  taller  than  five  feet,  six 
inches,  and  weigh  about  125  pounds.  That  she  should 
be  "more  generously  proportioned."  That  the  boyish 
figure  has  gone  out  of  style  completely. 


y  IEGFELD  says  that  a  good  nose  is  the  most  im- 
^  portant  feature  a  girl  can  have.  Also  he  says  that 
most  girls  are  knock-kneed. 


A  STRANGE  thing  took  place  at  the  Hollywood  open- 
ing of  "All  Quiet  on  the  Western  Front."  For 
the  first  time  in  anyone's  memory  many  of  the  audience 
didn't  return  for  the  second  half  of  the  picture.  Women 
found  the  horrors  of  this  epic  of  war-torn  battlefields 
too  much  for  them.  One  long  drawn  out  death  scene  after 
another,  accompanied  now  by  sounds  of  moans  and 
shrieks,  the  long  scene  in  a  shell  hole  with  a  corpse,  the 
battle  in  a  graveyard,  the  fight  in  the  dugout  with 
enormous  rats,  the  amputation  of  legs  and  the  killing 
off  of  every  important  character  in  the  story,  proved 
a  dish  too  strong  for  some. 

If  there  is  anyone  not  yet  convinced  that  war  is  a 
horrible  affair,  filled  with  suffering  and  anguish,  they 
should  certainly  see  "All  Quiet  on  the  Western  Front." 
Otherwise,  unless  you  are 
seeking  death  and  disas- 
ter in  all  its  details,  you 
won't  enjoy  this  picture. 


Rudolph  Valentino  left 
approximately  $800,000 
against  which  are  $551,- 
346.55  worth  of  allow- 
able claims. 


A/T ANY  social  activi- 
■*■  ties  of  the  month 

centered  around  the  en- 
gagement and  wedding 
of  Irene  Mayer,  daugh- 
ter of  Louis  B.  Mayer, 
to   David    Selznick.      In 

20 


fact  now  that  the  Mayer  girls  are  both  married,  society 
will  seem  very  quiet  for  a  while. 

The  wedding  itself  was  a  simple  one,  in  the  home  of 
the  bride's  parents,  with  only  a  very  few  intimate 
friends  and  the  immediate  family  present. 

The  bride  wore  a  simple  frock  of  white  satin,  with 
long  sleeves,  made  beautiful  by  a  wonderful  bridal 
veil  of  duchess  and  rose  point  lace  which  swept  the 
floor  for  several  feet.  Her  bouquet  was  of  white  orchids 
and  lilies  of  the  valley. 

The  matron  of  honor  was  the  bride's  sister,  Edith 
Mayer  Goetz,  who  wore  a  gown  of  pale  green  organdie, 
in  bouffant  style,  and  carried  pale  yellow  roses.  The 
other  bridal  attendants  were  Janet  Gaynor,  Marjorie 
Daw  Selznick  and  Marjorie  Strauss.  Their  costumes 
were  of  pale  yellow  organdie,  and  they  carried  show- 
ers of  yellow  iris. 

The  most  elaborate  entertainment  given  in  Miss  May- 
er's honor  was  a  dinner  dance  at  the  fashionable  Bev- 
erly- Wilshire,  at  which  Mr.  and  Mrs.  B.  P.  Schulberg 
were  hosts.  The  ballroom  was  a  veritable  bower  of 
spring  flowers.  The  guest  of  honor,  Miss  Mayer, 
wore  a  gown  of  coral  satin,  with  a  softly  trailing  skirt. 
Mrs.  Schulberg  was  in  white  and  wore  emeralds. 

Among  the  guests  were  Mr.  and  Mrs.  Walter  Morosco 
(Corinne  Griffith),  Mr.  and  Mrs.  Antonio  Moreno,  Mr. 
and  Mrs.  Maurice  Chevalier,  Mr.  and  Mrs.  Ralph 
Forbes  (Ruth  Chatterton),  Mr.  and  Mrs.  Lydell  Peck 
(Janet  Gaynor),  Mr.  and  Mrs.  Harry  Edwards  (Evelyn 
Brent),  Clara  Bow,  Nancy  Carroll,  Lillian  Roth,  Col- 
leen Moore,  Buddy  Rogers,  Elsie  Janis,  Mr.  and  Mrs. 
George  Fitzmaurice,  Claudette'  Colbert,  Jeanette  Mac- 
Donald  and  Hedda  Hopper. 


John  McCormack,  the  opera  singer  who  went  to 
Hollywood  for  Fox,  says  that  he  is  through  with  the 
opera.  Reason:  "I  cannot  sincerely  make  love  to  a 
prima  donna  twenty-five  years  my  senior  and  280 
pounds  in  weight,  which  I  must  do  on  the  operatic 
stage." 


R 


OGER    DAVIS,   the   well-known   polo   player   and 
man-abqut-town,  has  finally  been  talked  into  ap- 
pearing before  the  camera.     Always  bashful  and  shy, 

Roger,  although  one  of 
the  wits  of  London,  Par- 
is, New  York  and  Holly- 
wood, would  never  con- 
sent to  becoming  what  he 
called  a  "professional 
actor."  But  he  suc- 
cumbed to  the  charms  of 
Beatrice  Lillie  and  will 
be  seen  and  heard  in  her 
next  picture. 

"The  polo  set  at  Del 
Monte  will  miss  me," 
said  Roger  after  signing 
the  contract,  "but  I  have 
agreed  to  leave  my  string 
of  ponies  for  them  to 
play  with,  so  I'm  sure  it 
will  be  all  right.  I  think 
that  half  the  time  all 
they  want  me  around  for 
is  my  ponies." 


Stars  and  Their  Hollywood  Activities 


Harold  Lloyd's  next  picture,  titled  "Feet  First,"  is 
all  about  a  shoe  clerk.  Part  of  the  picture  will  be  shot 
on  board  a  trans-Pacific  liner  and  part  of  it  in  Hono- 
lulu. Harold  has  just  ordered  ONE  GROSS  of  the 
specs  which  have  become  his  trademark,  which  spikes 
the  rumor  that  he  woidd  play  his  next  picture  straight 
— without  the  funny  rims. 


A  FRIEND  of  Norma  Talmadge  had  a  fish  pond.  In 
i-*-  it  he  had  a  turtle.  The  turtle  went  blind  and  could 
no  longer  feed  himself.  As  the  friend  was  a  bachelor 
and  away  from  home  most  of  the  time,  he  was  going  to 
make  soup  out  of  the  turtle  rather  than  let  him  starve 
to  death.  Norma  heard  about  it.  She  asked  if  he  would 
not  give  the  blind  turtle  to  her  instead  of  killing  it.  He 
did.  And  now,  daily,  Norma  either  feeds  that  blind 
turtle  by  hand  herself,  or  makes  sure  that  her  maid 
does,  if  she  is  working  at  the  studio. 


Helen  Ferguson  received  more  than  $250,000  from 
the  estate  of  her  husband,  William  Russell,  who  died 
last  year.    It  has  just  been  settled. 


ANNA  Q.  NILSSON  is  still  in  the  hospital.  But 
*~*-  everything  is  coming  along  nicely  and  she  expects 
to  be  back  in  her  Beverly  Hills  home  in  June.  Already 
she  has  had  a  number  of  picture  offers  and  the  doctors 
say  that  by  Autumn  she  will  be  back  before  the  camera. 


Don  Alvarado,  who  is 
Dolores  Del  Rio's  most  in- 
timate friend.  A  num- 
ber of  picture  producers, 
including  Sam  Goldwyn 
and  Joe  Schenck,  have 
been  trying  to  persuade 
Mrs.  Alvarado  to  go  into 
pictures.  But  to  date  she 
claims  she  is  too  busy 
with  her  husband  and 
her  small  daughter.  She 
has  bronze  hair,  enormous 
green  eyes,  and  an  olive 

skin. 

*        *        *  Vilma     Banky:     Retiring    from 

XTILS  ASTER  is  back  pictures,  says  she  is  all  through 
i>J      from    a    vaudeville  with  Publ,c  l,fe- 

tour,  living  in  his  house 

at  Malibu  Beach.  Now  that  the  talkies  are  making 
pictures  in  various  languages,  Nils  will  probably  find 
himself  working  before  the  camera  again. 


tplLEEN  PERCY,  the  pretty  blonde  who  used  to  be 
*-*  Doug  Fairbanks'  leading  lady,  has  left  her  hus- 
band, Ulrich  Busch,  one  of  the  heirs  to  the  Busch  mil- 
lions.   She  is  going  to  make  some  pictures  for  Columbia. 


Warner  Brothers   will   spend   an   even   TWENTY 
MILLION  dollars  making  pictures  this  coming  year. 


A  PTER  one  long  separation  and  a  reconciliation,  Bet- 
^*-  ty  Compson  and  Jimmy  Cruze  are  once  more  liv- 
ing apart  and  Betty  has  filed  a  divorce  complaint.  That 
divorce  complaint  has  been  in  existence  for  months  and 
months,  and  at  various  times  Betty  has  threatened  to 
put  it  on  record.    Now  she  has  taken  the  step. 

Still,  no  one  would  be  very  much  surprised  if  they 
went  back  to  each  other  again.  Betty  and  Jim  still  love 
each  other,  and  these  temperamental  clashes  can  never 
definitely  be  taken  as  final. 


The  moon  got  between  the  sun  and  the  earth  on  April 
28th  and  all  California  took  a  peek  at  the  resulting 
eclipse  that  morning. 
A   certain   producer's 


secretary  walked  into 
his  office  just  before  it 
was  to  start  and  said, 
"Are  you  going  to  see 
the  eclipse  ?" 

"  'The  Eclipse,'  "  he 
said,  "never  heard  of 
it.  Who  is  in  it? 
When  does  it  open?" 


QNE  of  the  most 
^*^  beautiful  women 
in  Hollywood  is  Mrs. 


A  ND  First  National  is  going  to  spend  $17,500,000  this 
"^  year.  Which  does  not  include  250,000  berries  for 
a  music  hall  where  all  the  songwriters  can  play  at  the 
same  time  and  only  drive  each  other  crazy,  or  crazier. 


A/fRS.  BASIL  RATHBONE  (Ouida  Begere)  is  rap- 
^■*  idly  becoming  one  of  Hollywood's  most  promi- 
nent hostesses.  A  week  never  goes  by  without  the 
Rathbone  home  being  the  scene  of  at  least  two  elaborate 
parties.  Ouida's  enormous  vitality,  which  used  to  be 
expended  in  writing  scenarios,  running  booking  agencies 
and  doing  interior  decorating,  has  to  find  an  outlet 
somewhere  and  society  in  Beverly  Hills  seems  to  have 

been  elected.  The 
Rathbones  have  taken 
a  new  home  on  Cres- 
cent Drive  —  they 
moved  out  of  Marie 
Prevost's  charming 
residence  on  Cano 
Drive  a  short  time 
ago — and  the  new 
home  lends  itself 
beautifully  to  large 
parties. 

Celebrating  their 
wedding  anniversary, 
Mrs.  Rathbone  enter- 
tained with  a  buffet 
supper  the  other 
night.     Among  the 


3310V 
M 11X103 


MUIHOU.MD 


21 


The  Who's  Who  of  Hollywood-— what  the 


Clara  Bow:  Needs  good  stories 

and    is    suggested    for   "The 

Morals  of  Marcus" 


guests  were  Mr.  and  Mrs. 
Lionel  Barrymore,  Mr. 
and  Mrs.  Clive  Brook,  Mr. 
and  Mrs.  Edmund  Lowe 
(Lily an  Tashman),  Mr. 
and  Mrs.  Conrad  Nagel, 
Mr.  and  Mrs.  John  Crom- 
well (Kay  Johnson),  Mr. 
and  Mrs.  Louis  Bromfield, 
Mr.  and  Mrs.  Rod  La 
Rocque  (Vilma  Banky), 
Beatrice  Lillie,  Lois  Wil- 
son, Virginia  Valli,  Ai- 
leen  Pringle,  Gloria  Swan- 
son,  Elsie  Ferguson,  El- 
sie Janis,  Charlie  Chap- 
lin, John  Loder,  Ivan 
Lebedeff  and  Jack  Gil- 
bert. 
A  formal  dinner  was  given  by  Mr.  and  Mrs.  Rath- 
bone  in  honor  of  Mr.  and  Mrs.  Louis  Bromfield.  The 
guests  on  that  occasion  included  Mr.  and  Mrs.  William 
G.  McAdoo,  Mr.  and  Mrs.  John  Gilbert,  Mary  Lewis, 
Kay  Francis,  Catherine  Dale  Owen,  Jetta  Goudal,  Ken- 
neth McKenna,  Paul  Bern  and. Gilbert  Emery. 


DOLLY  MORAN  was  telling  Bill  Haines  about  a  man 
*■  who  insisted  that  his  wife  always  wear  white  in  the 
boudoir. 

"That's  a  fetish,"  said  Bill. 
"It  is  not,"  said  Polly,  "it's  the  truth." 
By  the  way,  Bill  and  Polly  played  together  in  a  re- 
cent picture  directed  by  Fred  Niblo.  Bill  and  Polly 
are  the  prize  practical  jokers  and  wise  crackers  of  the 
industry  and  Mr.  Niblo  is  an  extremely  dignified  gen- 
tleman, whose  wife  is  one  of  Beverly  Hills'  social  dic- 
tators. A  good  time  was  had  by  Bill  and  Polly,  but 
Mr.  Niblo  is  still  to  be  heard  from. 


r^OLORES  DEL  RIO  is  an  extremely  intelligent 
*-^  woman.  In  her  first  talkie,  "The  Bad  One,"  she 
allowed  Eddie  Lowe  to  walk  off  with  at  least  equal  hon- 
ors, some  might 
think  first  honors. 
"All  I  wanted 
was  a  good  pic- 
ture," she  said.  "I 
have  it  and  am 
satisfied.  I  knew 
from  the  beginning 
that  Mr.  Lowe's 
part  was  as  big  or 
bigger  than  mine. 
But  I  did  not  care. 
He  is  a  great  actor 
and  it  was  a  privi- 
lege to  work  with 
him.  I  hope  the 
audiences  will  just 
remember  that  if 
they  see  my  name 
on  another  picture, 
I  am  trying  to  give 
them  something 
they  will  like,  not 

22 


just  close-ups  of  me."  Miss  Del  Rio  is  a  farsighted  star. 


The  cottage  in  Toronto,  Ontario,  Canada,  where  Mary 
Pickford  ivas  born,  is  going  to  be  torn  down  and  sight- 
seers who  have  driven  by  the  house  the  last  ten  years 
will  see  instead  a  great  big  police  administration 
building. 


f\STEtR  at  Paramount  there  is  the  usual  uproar  about 
^-^  stories  for  Clara  Bow.  It  seems  amazing  that  pro- 
ducers can  be  so  short-sighted,  and  a  shame  for  Clara's 
great  career  that  Ben  Schulberg  hasn't  time  now  to 
give  her  the  direct  supervision  which  made  her  our 
greatest  star.  Paramount's  vision  on  Bow  seems  about 
as  wide  as  a  flapper's  eyebrow. 

The  studio  owns  a  story  which  would  be  a  sensation 
for  Bow.  It  is  William  J.  Locke's  "The  Morals  of 
Marcus."  Can't  you  see  Clara  as  the  little  girl  brought 
up  in  a  Turkish  harem,  doing  all  sorts  of  shocking 
things  in  a  well-ordered  English  home,  and  finally 
coming  to  know  life  and  love? 

Clara  Bow  is  a  fine  actress.  She  can  do  anything,  if 
they'll  only  give  her  a  chance.  It's  too  bad  that  her 
career  should  be  ruined  because  they  can't  find  enough 
stories  making  her  the  sweetheart  of  the  navy,  the  army 
or  the  marines. 


T  AWRENCE  STALLINGS,  author  of  "What  Price 
-^  Glory,"  "The  Cock-Eyed  World"  and  "The  Big 
Parade,"  has  been  spending  a  few  spare  minutes  knock- 
ing off  a  lyric  for  Tibbett. 


*"pHE  casting  of  Edna  Ferber's  novel,  "Cimmaron," 
■*■  occupies  many  a  Hollywood  dinner  party  these  days. 
RKO  owns  the  story  and  it  is  to  be  done  by  Richard 
Dix.  There  is  talk  of  Lila  Lee  for  Sabra,  the  wife,  a 
terribly  difficult  role,  and  one  which  Lila  would  do  to 

perfection. 

«       *       * 

Charles  Spencer 
Chaplin,  our 
"Charlie"  who  will 
live  in  the  minds 
o  f  m  e  n  forever, 
was  born  on  April 
16.  The  stars  say 
to  those  born  that 
day :  They  have  de- 
termination and 
tenacity.  They  are 
creative,  enthusias- 
tic and  courageous. 
Their  magnetic  per- 
sonalities, kindness 
and  loyalty  bring 
them  many  friends. 


FRANCES  MAR- 

ION,     the     best 

scenario  writer  in 


film  famous  are  doing  in  the  Movie  Capita 


Hollywood  in  the  opinion  of  many,  is  going  to  China  on 
a  three  months'  vacation. 


The  average  income  of  the  more  fortunate  of  the  ex- 
tras in  Hollywood  is  less  than  $700  a  year.  Yet,  there 
are  17,000  extras  registered  in  the  Central  Casting 
Bureau. 


UPE  KUBIN  has  arrived  in  Hollywood.  That  may 
not  mean  much  to  Hollywood,  but  Lupe  Rubin  is 
one  of  the  most  famous  writers  in  all  Mexico  and — not 
to  be  sneezed  at  even  in  Hollywood — she  is  a  multi-mil- 
lionairess, even  if  you  count  her  Mexican  dollars  as 
dimes.  Her  aunt,  the  late  Duchess  of  Meir,  left  a  $7,- 
000,000  chunk  of  this  world's  goods  in  trust  for  charity. 
Lupe  superintends  the  expenditure  of  this.  She  has 
five  children. 


York  to  consult  with  the- 
atrical managers  about 
some  plays  and  then  re- 
turned to  Jack's  Beverly 
Hills  house.  Wouldn't 
buy  any  of  this  stock  at 
par,  but  it's  still  a  good 
gamble. 


r]ORINNE  GRIFFITH 
has  moved  into  her 
new  home  at  Malibu 
Beach  and  rented  her 
Beverly  Hills  place.  She 
says  that  her  one  ambi- 
tion right  now  is  to  learn 
to  play  a  first-class  game  of  tennis, 
every  morning. 


Lois  Moran:  Becomes  twenty- 
one  and  comes  into  inherit- 
ance of  $68,000  from  an  aunt. 

She  takes  a  lesson 


X/TR.  AND  MRS.  EDMUND  LOWE  entertained  re- 
cently  in  honor  of  Mrs.  Lionel  Barrymore,  who 
has  just  returned  from  New  York  after  an  absence  of 
a  year,  and  Elsie  Ferguson.  The  guest  list  included 
such  famous  names  as  Mr.  and  Mrs.  Benjamin  Glazer, 
Mr.  and  Mrs.  Herman  Mankiewitz.  Mr.  and  Mrs. 
Arthur  Hornblow,  Fred  Worloeh,  George  Cukor,  Leo- 
nora Harris  and  Mr.  and  Mrs.  Fredric  March. 


'""pHE  Academy  of  Motion  Picture  Arts  and  Sciences, 
made  up  of  all  the  big  guns  in  the  motion  picture 
business,  has  awarded  its  annual  prizes. 

"The  Broadway  Melody"  they  said  was  the  best  pic- 
ture. 

Clyde  de  Vinna  was  awarded  the  prize  for  the  best 
photography  of  the  year  for  his  work  in  "White  Shad- 
ows of  the  South  Seas." 

Warner  Baxter,  they  said,  was  the  best  actor  of  the 
year  for  his  work  in 
'"In  Old  Arizona." 

Mary  Pickford  was 
given  the  prize  for 
being  the  best  actress 
as  a  result  of  what 
she  did  in  "Coquette." 

Frank  Lloyd  won 
the  medal  as  best  di- 
rector for  having 
megaphoned  "Weary 
River,"  "Drag,"  and 
"The  Divine  Lady." 

Of  course,  nobody 
agrees  on  these  selec- 
tions. Nobody  ever 
agrees  on  any  selec- 
tion. 


Monthly  report  on 
John  Gilbert  and  Ina 
Claire.  All  seems  to  be 
well.  Ina  went  to  New 


A  LMOST  simultaneously  with  George  Bancroft  not 
liking  the  part  he  was  to  play  in  the  picture  which 
was  scheduled  for  his  next,  "The  Caveman,"  he  lost  his 
voice.  Could  not  talk  at  all.  Paramount  has  cast  some 
one  else  in  his  part  and  sent  to  New  York  for  special- 
ists.    George's  voice  will  be  all  right  again  very  soon. 


Gary  Cooper  and  Lupe  Velez  continue  their  romance. 
Hectic,  but  apparently  satisfactory.  Lupe  chased  Gary 
all  over  the  house  the  other  night  because  he  said  some- 
thing about  her  guitar  playing  and  then  when  the  bxrt- 
ler  announced  dinner,  fell  into  his  arms  and  said,  "My 
darling  little  Gary,  come  and  have  your  dinner.  I  lofe 
you." 


pPJNCE  FREDERICK  CHRISTIAN  of  Schaum- 
burg-Lippe  and  Princess  Alexandra,  his  wife,  had  a 

lot  of  fun  last  month  playing  around  the  Metro-Gold- 

wyn-Mayer  studio 
and  eating  with  all 
the  stars.  They  would 
not  believe  that  Lon 
Chaney  was  actually 
doing  the  talking  for 
the  parrot  in  "The 
Unholy  Three,"  so  he 
took  them  over  to  the 
set  and  proved  it. 
They  saw  Bill  Haines 
stop  a  ball  on  a  rou- 
lette wheel  wherever 
he  wanted  it  to  stop. 
And  they  saw  Bar- 
bara Leonard,  a  new- 
comer to  pictures, 
make  a  scene  in  "Mon- 
sieur Le  Fox"  in  En- 
glish and  then  turn 
around  and  do  it  in 
three  other  languages, 
with  different  leading 
men  for  each  version. 
{Cont'd  on  page  96) 

23 


The 

Unknown 
CHARLIE 
CHAPLIN 


(Jim  Tully  drifted  to  Hollywood,  an  unknown  strug- 
gler  for  fame.  Today  he  is  one  of  America's  foremost 
ivriters,  author  of  such  widely  popular  novels  and  col- 
lections of  short  stories  as  "Shadows  of  Men,"  "Jarne- 
gan,"  "Beggars  of  Life,"  "Emmett  Lawlor,"  "Shanty 
Irish"  and  "Circus  Parade."  One  of  his  first  jobs  in  Hol- 
lyivood  was  xoith  Charlie  Chaplin.  Tully  served,  as  he 
expresses  it,  as  "one  of  the  sad  jesters  in  the  court  of 
the  King  of  Laughter."  His  emotional  afialysis  of  Chap- 
lin, consequently,  comes  from  first-hand  observation  and, 
like  all  of  Tidly's  literary  work,  is  honest  and  fearless  in 
its  expression.  Here  is  the  first  complete  description  of 
the  real  Chaplin.) 

I  FIRST  met  Charles  Chaplin  at  a  dinner  given  by 
Ralph  Block.  My  first  book  had  been  published. 
Chaplin  had  read  some  of  the  reviews.  When  we  parted 
that  night  he  asked  me  to  call  on  him  and  was  kind 
enough  to  tell  me  that  he  liked  me. 

Several  days  later  I  telephoned  the  studio.  Chaplin 
sent  his  limousine  for  me.  He  was  very  kind  during 
that  first  private  interview.  I  was  ill  at  ease.  We 
parted,  I  think,  with  a  feeling  of  reserve  on  both  sides. 
I  was  not  natural  that  day.  Nor  was  I  ever  quite 
natural  in  all  the  months  that  I  was  to  be  associ- 
ated with  the  comedian.  I  have  always  regretted  this 
fact. 

Paul  Bern  is  ever  on  the  alert  to  be  kind,  as  hundreds 
in  Hollywood  besides  myself  can  testify.  He  secured 
me  a  position  with  Chaplin.  My  salary  was  small,  but 
it  was  a  fair  wage,  considering  what  little  work  I  had 
to  do.  It  was  agreed  upon  between  the  comedian  and 
myself  that  he  was  to  sign  certain  articles  which  I  was 
to  write  from  time  to  time.  His  name  had  value  in  the 
magazine  world.  After  signing  two  articles  he  refused 
to  sign  more.  Feeling  the  inadequacy  of  my  posi- 
tion, and  hoping  daily  against  hope,  I  remained  on 
the  job. 

KONRAD  BERCOVICI,  the  writer  of  gypsy  romance, 
once  wrote  an  article  on  Charles  Chaplin  for  Har- 
per's Magazine.  In  it  he  did  me  the  honor  to  call  me 
Chaplin's  secretary.  He  described  my  entering  the  room 
and  laying  a  paper  on  the  great  jester's  desk.  No  atten- 
tion was  paid  to  me. 

Mr.  Bercovici  was  sadly  mistaken.  My  principal  duty 
with  Charles  Chaplin  was  to  receive  my  weekly  check. 
I  was  merely  one  of  the  sad  jesters  in  the  court  of  the 
King  of  Laughter. 

The  time  arrived  to  select  a  leading  lady  for  "The 
Gold  Rush."  Dozens  of  screen  tests  were  made  of  ambi- 
tious young  ladies.  I  often  accompanied  Chaplin's  higher 
salaried  yes-men  to  the  projection  room,  where  we 
watched  the  faces  of  these  inane  beauties  flashed  upon 
the  screen. 


24 


An  Emotional  Analysis  of  the 
Famous  Comedian,  "The  Most 
Complex   of   Human   Beings'' 

BY  JIM  TULLY 


AN  ordinary-looking  Mexican  girl  arrived  one  morn- 
ing. She  had  played  some  years  previously  in  "The 
Kid."  Chaplin  was  not  yet  at  the  studio.  The  girl  was 
about  to  depart,  when  lo — the  little  jester  met  up  with 
his  destiny.  A  screen  test  was  made  of  the  girl.  Sev- 
eral of  us  agreed  privately  that  it  was  the  worst  yet 
made.     The  girl  did  not  photograph. 

Chaplin  watched  her  features  on  the  screen  the  next 
day.    In  silence  we  watched  him. 

He  rose  from  his  chair. 

"That's  the  girl,"  he  exclaimed.  A  fearful  silence 
filled  the  little  room. 

I  walked  to  my  office  and  allowed  the  yes-men  to 
argue  the  great  question.  Something — perhaps  a  mood 
— as  he  had,  and  rightly,  no  respect  for  my  judgment, 
compelled  Chaplin  to  join  me  a  few  minutes  later.  He 
entered  the  room  as  tragic  as  Hamlet,  hands  held  be- 
hind his  back,  a  frown  on  his  face,  as  though  his  next 
decision  would  rattle  the  stars  from  the  sky. 

"What  do  you  think  of  her,  Jim?"  he  asked. 

Having  been  hungry,  and  knowing  that  he  would 
choose  the  girl  he  preferred  anyhow,  I  parried  with, 
"I  don't  know,  Charlie.    She  may  be  all  right." 

THE  rug  on  my  office  floor  was  vivid  red.  Chaplin 
began  to  pace  up  and  down,  up  and  down,  hands  still 
behind  his  back.  His  good-looking  face  bore  the  same 
fearful  frown.  Now  and  then  I  would  glance  at  him 
and  then  let  my  eyes  rest  once  more  on  the  scarlet 
carpet. 

Suddenly  the  door  opened.  The  Mexican  girl  en- 
tered. She  was  cheaply  dressed,  but  her  eyes  flashed, 
her  teeth  were  even,  her  body  was  so  round  and  supple 
that  one  soon  forgot  the  ugly  black  dress  which 
clothed  it. 

Chaplin  smiled  benignly,  as  gracious  and  charming  a 
smile  as  I  have  ever  seen. 

She  stood  before  him  and  asked,  "Well,  what  is  it, 
Charlie?     Am  I  hired?" 

The  comedian  looked  at  her  and  then  down  at  his 
spats,  which,  actor-like,  he  always  wore. 

I  watched  their  expressions.  The  keen,  fine  face  of 
the  actor,  mobile  and  finely  molded,  was  a  face  that 
would  be  noticed  in  any  gathering.  The  girl  watched 
him,  round-eyed,  round-faced,  full  of  life.  I  saw  in  her 
then  everything  which  Chaplin  did  not  see — a  young 
woman  who  seemed  to  me  devoid  of  spiritual  qualities. 

/^HAPLIN  answered  at  last,  "You're  engaged." 
v-'  The  girl  leaped  into  the  air  with  joy.  Together 
they  walked  out  of  my  office — to  a  troubled  destiny  for 
the  man  and  a  fortunate  one  for  the  girl.  She  after- 
ward had  the  fine  fortune  to  marry  the  comedian  and 
garner  for  herself  many  hundreds  of  thousands  of 
dollars. 

If  his  marriage  was  a  farce,  his  divorce  was  tragic. 
As  Lita  Grey  Chaplin  she  brought  him  as  much  misery 
as  it  is  possible  for  a  misunderstanding  young  lady  to 
bring  to  genius. 

She  worked  in  "The  Gold  Rush"  at  a  salary  of 
seventy-five  dollars  a  week.  Mr.  Chaplin  has  no  more 
sympathy  with  large  salaries  than  any  trust.     During 


25 


THE  REAL  STORY  OF  THE  WORLD'S  GREATEST  CLOWN 


her  stay  at  the  studio,  the 
officials  from  the  Board  of 
Education  often  called.  She 
could  scarcely  be  forced  to 
study.  Her  grades  were 
low  and  she  had  no  inter- 
est in  books.  And  to  this 
girl  was  given  by  the 
Fates  in  marriage  Mr. 
Charles  Spencer  Chaplin, 
the  most  complex  of  human 
beings. 

Just  why  he  remembered 
Miss  Grey  from  her  child- 
hood days  and  insisted 
upon  making  her  his  lead- 
ing lady  might  be  worthy 
the  attention  of  a  master 
of  irony  like  Chaplin  him- 
self. He  has  undoubtedly 
been  away  from  it  long 
enough  to  smile — until  he 
remembers  the  fortune  it 
cost  him.     And  then,   if  he 


The  real  and  the  shadow  Charlie  Chaplin.  "The  fine 
keen  face  of  Chaplin,  mobile  and  finely  molded,  is  a  face 
that  would  be  noticed  in  any  gathering,"  says  Jim  Tully. 


weeps,  he  is  but  human. 


IT  is  my  opinion  that  Chaplin  does  not  like  intelligent 
men  as  companions. 

Elmer  Elsworth,  one  of  the  most  whimsically  humor- 
ous and  highly  intelligent  men  I  have  known,  worked 
with  him  for  many  months.  Chaplin  once  remarked  to 
me  that  Elsworth  was  "a  real  highbrow."  Given  his 
choice  between  such  a  man  and  Henry,  the  heavy  res- 
taurant proprietor  in  Hollywood,  the  comedian  chose 
the  latter.  They  have  been  close  associates  for  many 
years.  Chaplin  frequents  his  restaurant  and  spends 
hours  in  chatting  with  other  ephemeral  film  immortals. 

Chaplin  often  ridicules  sentimentality  in  others.  The 
publishers  of  Thomas  Burke's  "The  Wind  and  the  Rain" 
sent  him  a  copy  of  that  book.  It  is,  so  far  as  I  know, 
one  of  the  most  maudlin  and  sentimental  books  written 
in  any  language.  Burke  is  a  product  of  the  same  Lon- 
don environment  that  produced  Chaplin.  Success  has 
made  both  men  dramatize  self-pity.  Chaplin  read  the 
book  with  tears  in  his  voice.  The  true  nature  of  the 
volume  entirely  escaped  him. 
at  the  far  end  of  the  studio, 
else,  he  read  and  discussed  the 
book  at  great  length. 

When  I  asked  to  borrow  the 
precious  volume,  he  willingly 
loaned  it  to  me,  saying, 
"Take  good  care  of  it,  Jim. 
It's  my  Bible." 


Secluded  in  a  bungalow 
oblivious  to  everything 


THE  book  had  touched  the 
misery  of  his  own  child- 
hood. After  seeing  the  East 
End  of  London,  I  can  under- 
stand why.  For  there  pov- 
erty is  groveling,  supine — so 
listless  and  beaten  that  it 
dares  not  hope. 

I  said  to  him,  "Charlie,  it 
would  be  a  nice  thing  to  cable 
Burke  and  also  send  his 
American  publishers  a  boost 
for  the  book." 

He  was  immediately  enthu- 
siastic over  the  idea.  I 
phrased  cablegram  and  tele- 
gram, which  he  approved. 

Burke  had  asked  him  for 
an  autographed  photograph.  I 
found  one  and  took  it  to  him. 
He  frowned. 

"It's  not  good  enough,"  he 
said. 

26 


SAYS  JIM  TULLY 
CHAPLIN— 
— ridicules   sentimentality   in    others/' 

" — does  not  like  intelligent  men  as 
companions." 

" — has  the  surprising  quality  of  kind- 
ness and  tolerance  toward  those  who 
have    been    none   too   kindly  to   him." 

" — is  far  from  gentle  in  his  attitude 
towards  life.  People  interest  him  a 
great  deal,  though  he  has  no  love  for 
them  in  the  mass." 

— never  expressed  any   love   for  the 
beauty  of  nature." 

" — has  a  mind  that  is  ever  in  furore. 
As  restless  as  a  storm,  it  is  always 
charged  with  wonder." 


In  London,  four  years 
later,  I  asked  Burke  if  he 
had  ever  received  the  pho- 
tograph. 

"Not  yet,"  he  answered. 
Chaplin  has  often  been 
called  "a  maker  of  di- 
rectors." During  my  term 
with  him  he  had  as  his 
lieutenants  Charles  Reis- 
ner,  now  a  successful  di- 
rector; Edward  Suther- 
land Henry,  the  ponderous 
restaurant  keeper,  and 
Harry  d'Arrast.  Monta 
Bell,  the  famous  Para- 
mount director,  had  but 
recently  left  him  to  begin 
his  brilliant  career.  Bell 
was  in  many  respects  the 
shrewdest  and  most  able 
man  associated  with  Chap- 
lin. He  watched  his  op- 
portunity and  sold  himself  to  Warner  Brothers  to  direct 
"Broadway  After  Dark."  It  was  an  immediate  success 
and  Bell's  future  was  assured.  I  tried  at  many  differ- 
ent times  to  get  Chaplin  to  comment  on  the  film.  He 
would  not. 

It  had  seeped  through  Hollywood  that  Bell  had  been 
partly  responsible  for  "A  Woman  of  Paris."  Chaplin 
heard  the  news  and  made  no  comment. 

/^\NE  of  the  most  surprising  qualities  about  him  is 
v-'  his  kindness  and  tolerance  toward  those  who  have 
been  none  too  kindly  to  him.  His  attitude  toward  life 
is  far  from  gentle,  however.  People  interest  him  a  great 
deal,  though  he  has  no  love  for  them  in  the  mass. 

In  all  the  months  I  was  with  him  he  expressed  no  love 
for  the  beauty  of  nature.  I  called  his  attention  to  a 
gorgeous  sunset.  He  looked  with  narrowed  eyes  and 
said  no  word.  He  once,  in  a  whimsical  mood,  spoke  of 
the  fog  of  London  and  wished  that  he  might  die  in  it. 
He  told  how  it  draped  the  buildings  and  hid  their 
ghastly  ugliness. 

Once,  long  after  I  had  gone,  three  men  sat  at  a  table 
with  him.     Being  citizens  of  Hollywood,  two  of  them 

evidently  thought  the  shortest 
road  to  his  heart  was  in  dis- 
paraging me.  Chaplin  listened 
for  some  time,  saying  noth- 
ing. At  last  he  said,  "He 
can  write,"  and  the  subject 
was  changed. 

His  mind  is  ever  in  a  fu- 
rore. As  restless  as  a  storm, 
it  is  always  charged  with 
wonder.  The  vagaries  of  the 
human  brain  interest  him  a 
great  deal.  The  Leopold- 
Loeb  case  kept  him  en- 
thralled. He  often  expressed 
pity  for  the  Chicago  anarch- 
ists done  to  death  as  the  out- 
come of  the  Haymarket  riot. 
One  brave  fellow  in  the 
early  morning  hour  before 
his  execution  sang  so  that  the 
entire  prison  could  hear: 
"Maxwelton  braes  are  bonnie, 
Where  early  fa's  the  dew — 
It     ivas    there     that    Annie 

Laurie 
Gae  me  her  promise  true." 
Chaplin  often  talked  of  this 
incident.      Whenever    he   did, 
his  voice  was  soft. 

(Continued  on  page  125) 


Miss  MacDonald,  the  charming   queen  of  "The    Love    Parade,"  is   happy  again.     She  is 

back   in    California    under   Ernst    Lubitsch's   direction,  making   another  cinema  operetta, 

"Monte  Carlo."     Jack  Buchanan,  the  English  actor,  is  her  leading  man. 


Photograph  by  Don  English 


JEANETTE 
MACDONALD 

27 


Photograph  by  Elmer  Fryer 


Lila  Lee  is  just  twenty-five.  Into  those  twenty-five  years  have  been  crowded  many  fantastic  and  startling 
events.  For  twenty  of  those  twenty-five  years  Lila  has  been  an  important  figure  in  the  American  theater. 
At  thirteen  she  was  a  screen  star.  At  fourteen  she  was  a  film  flop,  struggling  to  start  over  again.  She  has 
been  through  the  heartbreak  of  a  tragic  marriage.  She  had  a  baby.  Today,  however,  she  stands  in  a 
screen  place  all  her  own.     Limitless  possibilities  are  ahead  of  her. 


28 


Th 


Drama 


of 


LI  LA 
LEE 


By  EVELYN  GRAY 


Act  I. 


HAVING  seen  Lila  Lee's  birth  certificate,  I 
am  willing  to  swear  that  she  is  just 
twenty-five. 

Of  course  she  looks  even  younger.  Lila 
still  has  a  forceful  awkwardness,  a  certain  im- 
pulsiveness that  is  part  of  extreme  youth.  Only 
it  seems  hardly  possible  that  anyone  could  crowd 
into  twenty-five  short  years  all  the  things  that 
have  happened  to  Lila. 

Perhaps  that  is  why  there  is  a  little  weariness  in 
Lila's  young  face.  Perhaps  that  is  why  at  times  she 
makes  mistakes  and  grows  a  little  confused.  Life  has 
rushed  her  so — from  one  thing  into  another — always  in 
a  breathless  sort  of  way — piling  drama  on  top  of  drama. 

"G^OR  twenty  years  this  girl  has  been  an  important 
"  figure  in  American  theaters.  At  thirteen  she  had 
been  a  screen  star — and  the  most  colossal  failure  ever 
recorded  in  motion  pictures.  At  fourteen  she  had  to  do 
that  thing  which  staggers  strong  men — she  had  to  come 
back  or  quit. 

She  has  been  through  a  strange  and  tragic  marriage, 
had  a  baby,  fought  her  way  up  and  down  through  all 
the  heartbreaks  of  the  movie  world — and  now  stands 
alone,  with  limitless  possibilities  ahead  of  her. 

There  is  in  her  much  foolish  wisdom  and  much  wise 
foolishness.  Whether  she  was  born  to  it  or  whether 
her  amazing  childhood  bred  it  deep  into  her  soul,  Lila 
Lee  is  an  artist  and  a  Bohemian.  Often  she  has  thrown 
away  great  chances  to  follow  her  heart.  Money  has 
never  meant  anything  to  her.  The  theater  and  the 
screen  she  loves — I  think  she  would  wither  and  die 
away  from  them.  She  almost  did  when  her  husband 
persuaded  her  to  follow  him  into  the  desert  and  give 
up  her  career. 


Lila  Lee  was  born  in  1905  in  New  York,  the  child  of  immigrant 
parents  from  Southern  Germany.  Her  name  was  Augusta 
Appell.  It  was  while  her  father  ran  a  hotel  in  Union  Hill, 
N.  J.,  that  little  Augusta  caught  the  eye  of  Gus  Edwards  and 

his  wife. 

Every  great  career  is  influenced  by  someone.  The 
career  of  Lila  Lee  was  not  only  influenced,  it  was 
created  by  a  woman.  Perhaps  she  would  have  followed 
some  yearning  within  herself  and  arrived  at  the  same 
end  if  she  had  never  seen  Lillian  Edwards.  But  I  doubt 
it.  Her  whole  life  has  been  lived  as  the  child  of  this 
spiritual  mother. 

TT  happened  like  this: 

•*■  Back  in  1904  a  little  family  arrived  in  New  York 
on  one  of  the  small,  slow  boats.  They  stood  at  the  rail, 
father,  mother,  and  one  little  girl  with  straight,  long 
pigtails,  staring  at  New  York  Harbor.  In  swift  Ger- 
man they  spoke  of  the  little  inn  they  had  left  behind 
them  in  Southern  Germany  and  of  the  fortune  and 
freedom  which  were  to  be  theirs  in  America. 

Charles  Appell  and  his  good  wife,  Augusta,  and  their 
four-year-old  daughter,  Margaret,  were  just  a  drop  in 
that  great  river  of  emigration  flowing  from  the  old 
world  to  the  new.  They  were  strange  and  frightened, 
but  very  hopeful. 

They  settled  in  the  great  city  of  New  York,  among  a 
small  colony  of  their  own  kind,  and  Charles  found  work 
as  a  waiter.  His  wife  could  not  work  for  she  was  await- 
ing the  arrival  of  a  newcomer,  the  first  American  in 
that  old  family  of  German  peasants.  A  son  this  time, 
surely,  a  son  to  be  born  in  this  new  land  where  all  men 


The  Absorbing   Life  Story  of  a   Twenty- Five -Year- Old 

Veteran   of  Motion   Pictures 


29 


AUGUSTA  APPELL,   CUDDLES  AND  THEN   LILA  LEE 


Lila   has  an  older  sister,  Margaret,  born  in  Germany  before  their  parents  migrated  to  America.     Above,  Lila  and   her 

sister,  now  Mrs.  Tuttle,  in  Lila's  Hollywood  home. 


were  equal  and  he  might  actually  grow  up  one  day  to  be 
President. 

But  it  was  not  to  be.  On  a  morning  in  July,  1905, 
there  arrived  a  very  small,  feminine  mite  who  protested 
loudly  against  being  born  anywhere,  and  who  for  a 
whole  year  seemed  bent  upon  leaving  America  for  some 
unknown  land. 

"What  shall  we  name  her?"  asked  the  mother. 

"It  matters  not,"  said  Charles.  "If  it  had  been  a 
boy,  we  would  have  called  her  Charles,  after  me.  Why 
not  then  Augusta,  after  you?" 

So  Augusta  Appell  received  her  first; — and  least 
known — name. 

TN  1910  an  act  arrived  to  play  the  little  theater.  Gus 
•*•  the  new  daughter  and  began  to  make  plans  to  better 
things  for  his  family.  He  wanted  to  get  out  of  New 
York.  It  was  too  big.  A  man  must  be  a  giant  to  lift 
his  head  above  the  mob.  Besides,  it  was  not  a  healthy 
place  for  the  two  little  girls,  especially  for  tiny  Gussie. 

When  a  chance  presented  itself  the  Appells  moved 
across  into  New  Jersey  and  Charles  became  boniface  of 
an  ancient  and  none  too  prosperous  hotel  in  the  old  town 
of  Union  Hill.  Once  again  they  were  within  walking 
distance  of  the  green  fields  and  the  flowers.  They  were 
away  from  the  noise  of  New  York.  And  since  they  were 
good  innkeepers,  these  two,  they  made  the  old  hotel  pay 
a  living.  Charles  knew  what  it  meant  to  make  guests 
comfortable  and  Augusta  was  a  marvelous  cook: 

Next  door  to  the  hotel  was  a  theater,  where  in  sum- 
mer a  stock  company  performed  old-time  successes.  In 
the  winter,  vaudeville  bills  played  two  and  sometimes 
three-night  stands  there.  The  actors  and  performers 
always  stayed  at  the  Appell's  hotel  and  complimented 
Charles  upon  the  chicken  noodles  and  the  apfelstrudel. 

IN  1910,  an  act  arrived  to  play  the  little  theater.  Gus 
A  Edwards'  boys  and  girls,  his  "School  Days,"  were 
not  so  well  known  then  as  they  became  later.    But  they 

30 


were  headliners,  and  Gus  Edwards  himself  was  popular 
with  people  everywhere.  He  and  his  wife  and  the 
youngsters  then  making  up  the  act  stopped  at  the 
Union  Hill  Hotel.  In  the  morning  they  rehearsed  the 
show,  and  later  presented  their  host  with  tickets.  All 
moved  smoothly. 

You  have  heard  ere  now  of  "little  things"  that  alter 
lives.  A  little  girl  in  Gus  .Edwards'  act  had  a  passion 
for  apples,  which  Augusta  kept  for  cooking  purposes. 
At  six  o'clock  Mr.  Edwards  came  frantically  to  Charles. 
Disaster  had  befallen.  The  little  girl  was  very  sick. 
She  simply  couldn't  appear.  Where  could  he  get  an- 
other little  girl  to  be  on  just  for  that  night? 

Charles  shrugged.  He  knew  how  to  provide  most 
things  for  his  patrons,  but  little  girls  to  go  in  acts 
were  out  of  his  line.  He  gazed  at  his  own  younger 
daughter,  playing  calmly  in  the  lobby,  but  could  think 
of  no  solution. 

Gus  Edwards'  eyes  followed  his.  He  saw  a  very  tiny 
person,  with  a  mop  of  black  hair  falling  nearly  to  her 
knees,  and  a  perfectly  round  little  countenance  out  of 
which  peered  two  enormous  calm  black  eyes. 

WHO  is  that?"  he  said. 
"That?"   Charles  shrugged   again.     "That  is 
my  own  little  Gussie.     She  is  but  four  and  a  half  years 
old.    Much  too  little.    But  perhaps " 

"She'll  do,"  said  Gus  Edwards.  "I  only  want  her  to 
sit  on  the  piano  tonight.  I'll  get  someone  else  tomorrow 
from  New  York." 

But  he  didn't  get  someone  else  the  next  day  nor  for 
many  days  thereafter.  For  little  Gussie  Appell  sat  on 
the  piano  with  such  enormous  success,  her  small  fat 
presence  and  her  amusing  calm  so  delighted  the_  audi- 
ence that  they  insisted  upon  her  having  a  curtain  call 
all  to  herself.  She  took  it  with  superb  nonchalance, 
made  a  fat  curtsey,  and  seemed  not  at  all  disconcerted 
at  finding  herself  behind  footlights  with  many  people 
staring  at  her.  (Continued  on  page  120) 


FLASH  BACKS  ,o,0YearsA9° 


By  Albert  T.Reid 


ACOUPLE  OF 

POPULAR 

YOUNG 

AMERICANS 

WERE  ABROAD 

ON   THEIR, 

HONEYMOON 


TWO-GUN  BILL 
HART  WAS    A 

RSDING,  RIDING, 

RIDING,  AND  HE 

ALWAYS     GOT 

HfS    MANS 


-/^lber-CT.'Re?d 


T. 


A 


KATHERIWE  MACDOMALD 
IN  THE  SMARTEST  OF 

1 920  SPORTS  CLOTHES, 
CAMEL'S  HAIR  MUFF- 
LER, AND  ALL.  -*  -*- 


FATTY   ARBUCKLE    IN  THE*ROUND-UP'i 
GETTING    INTO    AND   OUT   OF  TIGHT 
PLACES.VAS    FURNISHING    MOST    OF 
THE  HEAVY  LAUGHS  OF    THE  TIME  — 


31 


Lillian  Gish 


Norma  Talmadge 


Mae  Murray 


Adela  Rogers  St.  Johns  Compares  the  Film  Youth 
of  Today  and  of  Yesterday 

By  Adela  Rogers  St.  Johns 


IN  common  with  every  other  section  of  the  globe, 
Hollywood  has  its  problem  of  the  younger  genera- 
tion. 

On  every  hand,  in  fact  and  in  fiction,  youth  oc- 
cupies a  large  place  as  a  subject  of  plot  and  conversa- 
tion. The  opinion  has  frequently  been  expressed  that 
modern  youth  is  setting  a  record  for  wild  conduct  and 
moral  degeneration.  You  might  almost  get  the  impres- 
sion, if  you  happened  in  from  Mars,  that  the  girls  of 
our  time  are  practically  hopeless. 

This  is  the  first  time  the  matter  of  a  younger  gener- 
ation has  presented  itself  to  Hollywood.  You  see,  there 
didn't  used  to  be  any.  Every- 
body in  the  pictures  busi- 
ness was  young.  It  was  the 
first  dynasty  and  those  who 
had  begun  the  business  were 
carrying  on.  They  had  no 
history  and  were  too  busy 
to  consider  the  future,  to 
foresee  in  any  degree  the 
gigantic  thing  which  has  de- 
veloped in  the  last  ten  years. 

Now  the  old  order  chang- 
eth.  I  have  become  definitely 
conscious  of  it  because  we  are  beginning  to  reminisce 


There  is  no  flaming  youth  among 
the  stars  of  today.    There  is  too 
much    conservatism,    too    much 
standardization,  too   much   con- 
sciousness of  self." 


HpHE  younger  generation  exists  in  force  in  Hollywood, 
-*•  socially  and  professionally.  It  must  be  considered. 
They  are  very  different,  these  new  girls  who  are  ar- 
riving, have  just  arrived,  or  may  arrive  some  day.  The 
girls  of  today  who  will  be  the  stars  of  tomorrow,  who 
occupy  the  same  places  now  that  were  occupied  only  a 
short  time  ago  by  the  Talmadges — by  Swanson  and  La 
Marr — by  Colleen  Moore  and  Bebe  Daniels — and  just 
a  little  later  by  Joan  Crawford  and  Clara  Bow  and  Greta 

32 


Garbo.  The  girls  from  whose  ranks  will  be  called  the 
next  additions  to  the  star  groups. 

They  are  different,  but  contrary  to  all  expectation, 
there  isn't  anything  flaming  about  them.  The  problem 
exists  more  upon  the  side  of  too  much  conservatism, 
too  much  standardization,  too  much  caution  in  self- 
protection,  too  much  calm  and  deliberate  consciousness 
of  self. 

The  truth  of  the  matter  is  that  I  have  a  hard  time 
telling  them  apart.    There  are  the  blondes  and  the  Span- 
ish and  the  Janet  Gaynors  and  you  can  tell  to  which 
type  they  belong,  but  after  that  the  identification  be- 
comes   lost    in    a    cloud    of 
sameness.      If   one   of  them 
died  in  the  middle  of  a  pic- 
ture,   you    could    substitute 
nineteen  others  and  nobody 
would  know  the  difference. 

Perhaps  that  is  a  little  too 
strong.  But  in  general  it  is 
true,  and  it  is  the  opinion,  I 
find,  of  many  directors  and 
male  stars,  in  whose  pictures 
a  lot  of  these  new  girls  ap- 
pear as  leading  ladies.  And 
I  mean  ladies,   in  all  the  fatal  senses   of  that  word. 

"DESTRAINT  and  determination  to  avoid  scandal  have 
-*-^  resulted  in  the  whole  place  being  overrun  with  ladies. 
With  well-behaved,  well-educated,  beautiful  young 
things  who  can't  be  told  from  members  of  the  Junior 
League  except  by  the  fact  that  they  behave  with  more 
dignity  in  public  and  are  better  gowned  and  better 
groomed. 

In  my  opinion  a  lot  of  them  are  about  as  uninter- 
esting. 


Pola  Negri 


Constance  Talmadge 


Barbara  La  Marr 


Hollywood's  Younger 

GENERATION 


Don't  misunderstand  me.  It  is  excellent  to  be  lady- 
like. It's  a  splendid  thing  for  the  morale  of  Hollywood 
as  a  community  to  have  this  multitude  of  sweet  young 
things  who  live  at  home,  save  their  money,  get  engaged 
and  married  according  to  Emily  Post.  Nice  girls  who 
think  an  orgy  is  something  you  take  out  in  an  operating 
room  and  regard  the  Volstead  Act  as  an  eleventh  com- 
mandment. 

It's  a  great  improvement  and  a  testimonial  to  the 
essential  soundness  of  the  motion  picture  industry. 

But  is  it  art? 

I  do  not  necessarily  advocate  the  theory  that  one  must 
live  to  act,  or  that  one  must 
have  loved  and  sinned  and 
suffered  and  starved  to  be 
an  artist.  Keats  and  Mo- 
zart, masters  forever  in 
their  own  fields,  died  before 
they  could  do  much  of  any 
of  that.  Janet  Gaynor's 
performance  in  "Seventh 
Heaven,"  will  long  rank  as 
a  perfect  gem  in  the  annals 
of  screen  acting.  We  shan't 
soon  forget  Jackie  Coogan 
in  "The  Kid,"  nor  Mae  Marsh  in  "Intolerance." 

But  the  fact  remains  that  most  great  actresses  and 
most  great  operatic  prima  donnas  have  been  dynamic 
women  who  did  not  conform  to  the  ordinary  life  around 
them,  who  expressed  some  beauty  and  some  talent  and 
some  personality  and  some  fire  which  made  them  stand 
out  from  among  the  ordered  ranks  of  those  meant  by 
destiny  for  different  ends  than  trying  to  captivate  and 
move  audiences  through  the  medium  of  dramatic  art. 

The  unrevealed  capacity  for  these  things  is  in  many 
women  who  never  are  directed  by  fate  into  such  chan- 


Hollywood  now  is  overrun  with 
ladies,  well  balanced,  well  educat- 
ed, beautiful,  uninteresting  young 
things     but  will  they  drag  you  from 
home  to  the  box  office?" 


nels  as  the  stage  or  screen.  But  I  am  wondering  where 
we  are  going  to  get  any  screen  immortals  out  of  this 
finishing  school,  any  personalities  which  will  be  vital 
enough  to  command  the  attention  of  millions  and 
awaken  the  real  love  and  admiration  of  the  world. 

HPHEY  are  nice  girls — lovely  girls.  You  can  offer  them 
-*-  the  most  sincere  respect.  But  that  isn't  enough,  is 
it?  It  isn't  enough  to  drag  us  away  from  home  and 
fireside  and  a  good  book,  to  pay  good  money  at  the  box 
office. 

I  am  afraid  sometimes  that  these  new  girls  of  the 

younger  generation  lack 
the  vitality,  the  exagger- 
ated personality,  the  depth 
of  emotion  and  the  breadth 
of  human  understanding 
which  are  eternally  neces- 
sary to  high  drama  or  fine 
comedy. 

I  am  not  unjust.  I  do 
not  compare  these  girls  I 
see  about  the  studios  and 
at  parties  nowadays  with 
the  women  of  the  screen 
as  they  are  today — the  women  whose  charms  have 
reached  the  zenith  of  mental  and  physical  development. 
I  don't  compare  a  Jeanette  Loff  to  a  Gloria  Swanson, 
or  an  Anita  Page  to  a  Garbo. 

Nor  do  I  discount  the  beauty  and  ability  of  many  of 
these  girls,  and  their  appeal  of  youth.  No  one  appre- 
ciates more  than  I  do  the  loveliness  of  a  Loretta  Young, 
the  kitten-like  sweetness  and  comedy  and  pathos  of  a 
Nancy  Carroll,  the  clean-cut  fineness  of  a  Sally  Eilers. 
Yet  looking  at  them,  and  then  remembering  back  ten 
or  fifteen  years,  I  cannot  feel  that  they  show  the  prom- 

33 


WHERE  ARE  THE  VIVID  FILM  GIRLS  OF  YESTERDAY? 


Three  membsrs  af  Hollywood's  younger  generation  of  1930  at  the  bar:  Fay  Wray,  Mary  Brian  and  Jean  Arthur. 
Do  you  think  they  possess  less  color  and  interest  than  the  screen  girls  of  yesterday?     Mrs.  St.  Johns  does — and 

she  tells  you  why  in  this  article. 


ise  of  great  things  which  was  shown  by  the  group  I 
knew  ten  or  fifteen  years  ago  when  we  were  all  kids 
breaking  into  this  racket  together.  They  lack  what 
writers  call  "color."  Too  often  their  thoughts  and  am- 
bitions, as  well  as  their  mode  of  life,  is  stereotyped. 

HP  HEY  don't  seem  to  enjoy  life  as  that  earlier  group 
*•  did.  It  takes  so  much  more  to  give  them  a  kick. 
They  are  wiser  in  the  ways  of  the  world,  but  they 
haven't  the  power  to  live,  the  eagerness  to  see,  the  cour- 
age of  freedom  and  prog- 
ress that  used  to  exist  in 
the  pioneer  days.  The  close 
friendships,  such  as  existed 
between  Connie  Talmadge 
and  Dorothy  Gish,  between 
Mary  Pickford  and  Lillian, 
are  missing. 

Glance  over  the  outstand- 
ing and  amazingly  differen- 
tiated personalities  that 
were  the  younger  genera- 
tion a  very  short  time  ago. 

Constance  Talmadge  at 
the  time  she  made  her  first 
big  hit  in  D.  W.  Griffith's 
"Intolerance,"  and  for  sev- 
eral years  after  that.  There 
was  a  tomboy  gallantry,  a 
tremendous  joy  of  living, 
about  "Dutch"  that  made 
her  unforgettable.  She  and 

Dorothy  Gish  were  like  a  couple  of  carefree  kids.  They 
loved  their  work  not  because  they  were  deeply  impressed 
with  success  which  meant  fame  and  money.  They  didn't 
know  it  did.  They  just  enjoyed  every  minute  of  it. 
The  black  sheep  of  the  Gish  family,  as  she  used  to  call 
herself,  and  "Dutch"  were  a  pair  it  would  be  hard  to 
beat  if  you  were  looking  for  amusing  companionship. 
They  could  think  up  more  gags  in  one  afternoon  than 
now  go  to  make  up  a  Harold  Lloyd  comedy. 

Beside  them,  put  such  mystery  and  spiritual  beauty 
as  made  Mary  Pickford  the  most  famous  woman  in  the 


'The    film    girls    of    today    don't 
seem  to  enjoy  life  as  that  earlier 
group    did. 
more  to  give 
are    wiser    in 


world.  And  shy,  brilliant,  little  Colleen  Moore,  with 
her  slim  grace  and  her  warmth  and  Irish  understand- 
ing— Colleen  who  looked  like  a  kid  sister  and  could  talk 
Wagnerian  music,  or  Pater's  essays,  or  football,  or  news- 
paper publishing  with  anybody  if  you  got  her  started. 
The  unrivalled  beauty  of  Barbara  La  Marr  and  Cor- 
inne  Griffith — as  different  as  two  women  could  well  be, 
yet  both  with  minds  and  fascination  back  of  their 
loveliness. 

Where  are  we  to  match,  today,  the  wistful  genius  of 

Mae  Marsh,  and  the  sub- 
lime comedy  of  Mabel  Nor- 
mand? 


It    takes    so    much 

them  a  kick.     They 

the    ways    of    the 

world,  but  they  haven't  the  power 

to  live,  the  eagerness  to  see,  the 

courage  of  freedom  and  progress 

that  used  to  exist  in  the  pioneer 

days.      The   old  close  friendships 

are  missing,  too." 


HP  HE  other  day  in  a  little 
J-  chapel  in  Los  Angeles  I 
saw  gathered  about  the 
blanket  of  lilies-of-the-val- 
ley  which  covered  all  that 
tragedy  had  left  us  of  that 
lovable  and  unfortunate 
child,  all  the  great  comed- 
ians who  made  screen  his- 
tory— Charlie  Chaplin,  Ben 
Turpin,  Roscoe  Arbuckle, 
Harold  Lloyd,  Ford  Ster- 
ling, Chester  Conklin.  And 
the  outstanding  women 
who  excel  in  the  art  of 
laughter,  Marion  Davies 
and  Constance  Talmadge, 
Marie  Di'essler  and  Polly 
Moran.  They  sat  with  bowed  heads,  thinking  of  the  one 
of  them  all  who  was  master  of  comedy,  the  one  they 
all  acknowledge  to  have  known  more  about  comedy  than 
anyone  else  who  ever  walked  before  a  camera — Mabel 
Normand. 

Possibly  I  am  wrong,  but  I  don't  see  any  Mabel 
Normand  in  the  shining  ranks  of  the  younger  genera- 
tion. Possibly  she  is  there,  hidden  behind  a  five  dol- 
lar a  day  extra  check.  Possibly  it  is  Lillian  Roth,  or 
Helen  Kane  and  they  haven't  yet  shown  their  merits. 
But  the  moment  you  met    (Continued    on   page    124) 


34 


^ 


•v///\l/ 


VENICE.        This  month  we  present  the  Grand  Canal  as   you  fancy  it  after  watching  the  endless  procession  of 
talkies.      Here  is  the  wettest  of  Italian  cities  —  as  Hollywood  sees  it. 


35 


THE  STARS'  OWN 

The  Screen  Idols  are  as  Human  as  You  and  I  — and 
they  have  their  own  Motion  Picture  Crushes 


s 


OME  stars  have  million-dollar  press  agents!    Yet 
they  don't  pay  them  a  cent. 

Not  only  that,  but  the  press  agents  themselves 
are  famous! 

Say,  this  thing  is  getting  just  too  involved,  isn't  it? 
I'll  tell  you. 

Probably  the  most  enthusiastic  fans  in  the  whole  wide 
world  are  the  stars  themselves.  And  I'll  let  you  in  on 
a  little  secret.  They're  very  human  about  it.  They 
like  their  stars  in  just  the  same  way  that  you  and  I 
do.  There  are  picture  stars  who  are  just  as  thrilled 
at  seeing  Greta  Garbo  as  anybody  in  Centerville,  Ohio. 
They  may  like  the  way  a  star  combs  his  hair  or  wears 
clothes  or  the  manner  in  which  he  or  she  twitches  an 
eyebrow.  And  sometimes  they  get  a  real  crush,  even  as 
you  and  I! 

"\X7"HY,  I've  known  Mary  Pickford  to  rush  from  the 
*  *  studio  at  night  without  her  dinner  to  view  Lillian 
Gish  in  a  new  picture,  not  only  because  she  thinks  Lillian 
is  a  fine  artist,  but  because  she  is  her  chum;  and  I've 
known  Lillian  Gish,  after  an  all-night  vigil  with  her 
sick  mother,  insist  next  night  on  going,  though  she 
was  ready  to  drop,  to  see  Mary  in  a  review. 

Janet  Gaynor  came  from  Catalina  in  a  little  launch 
at  night,  arriving  wet  and  disheveled,  to  see  Ann  Hard- 
ing in  a  new  picture,  and  Doug  Fairbanks  raced  across 
a  desert  from  location  in  Summertime  to  be  in  time 
for  a  Chaplin  premiere. 

And  I  know  an  actress  who  has  a  perfectly  awful 
crush  on  Ronald  Colman  without  ever  having  met  him ! 
She's  a  pretty  noted  actress  herself. 

So  if  you  think  that  a  star  is  a  person  who  stands 
off  and  says,  "Look  at  me.  I'm  the  only  person  worth 
seeing,"  you're  all  wrong. 

Everybody  is  human,  of  course,  actors  the  same  as 
everybody  else.  And  probably  there  are  two  or  three 
stars  who  think  they're  infinitely  superior  to  any  other 
star.  And  maybe  all  of  them,  down  at  the  bottom  of 
their  hearts,  think  there  is  some  teenty  little  way  in 
which  they  are  a  teenty  bit  better  than  any  other  star. 
But  in  the  main — oh,  well,  let  them  speak  for  themselves 

36 


Maurice  Chevalier 

"AS  long  as  I  have  been  looking  at  Douglas  Fairbanks 
^*-on  the  screen,"  declared  Maurice  Chevalier,  "he  has 
been  my  favorite.  I  first  saw  him  in  'The  Mark  of 
Zorro'  in  Paris  almost  ten  years  ago. 

"I  like  Fairbanks  because  of  his  vitality  and  his  phys- 
ical prowess. 

"But  he  is  also  a  fine  actor.     Don't  forget  that. 

"Fairbanks'  taste  is  always  faultless,  and  his  produc- 
tions are  made  with  the  most  meticulous  care. 

"My  meeting  with  Fairbanks  was  a  real  event  in  my 
life.    He  is  a  gentleman  on  and  off  the  screen." 

Mary  Pickford 

\X7"ELL,  you  won't  believe  it  maybe,  but  Mary  Pickford 
**      declares  that  her  favorite  actor  is  Mickey  Mouse! 

"Mickey  Mouse,"  Mary  said,  with  her  humorous  grin, 
"seems  to  me  to  be  the  only  actor  who  has  so  far  really 
mastered  the  new  art  of  talking  pictures.  His  voice  suits 
him  and  he  never  says  too  much.  He  has  poise  and  is 
entirely  lacking  in  that  horrible  self-consciousness  in  the 
presence  of  the  mike  which  be-devils  most  of  us  actors. 

"I  do  hope  that  Doug  won't  be  jealous.  I  think  he  is 
good,  too!" 

Harry  Langdon 

"COME  comedians  like  a  little  tragedy  relief  in  their 
^  lives — like  dramatic  actors  best.  Not  I.  I'm  so 
serious  about  my  own  work,  I  like  to  go  and  laugh 
at  other  comedians'  antics,"  explained  Harry  Langdon. 
"I  like  Charlie  Chaplin  and  Louise  Fazenda  best.  No 
matter  how  great  a  star  Charlie  becomes,  he  never  for- 
gets to  keep  the  common  touch — without  being  common. 
And  no  matter  how  small  a  part  Louise  Fazenda  has, 
she  brings  everything  she  has  to  it.  I  could  sit  up  all 
night  to  view  either  of  them!" 

Clara  Bow 
"fP  VEN  the  It-Girl  of  the  screen  herself  has  her  favor- 
-L'   ite  actress. 

"I  like  Norma  Shearer  because  she  seems  to  me  always 
to  be  a  real  girl — like  the  girl  you  might  know  next 
door,"  says  Clara. 

"Then  she  has  a  lovely  voice,  which  is  a  God-given 
thing.     Her  voice  seems  just  made  for  the  talkies. 


FAVORITE   STARS 


By  GRACE   KINGSLEY 


And  her  clothes!  There  is  a  certain  chic  required 
for  the  screen,  a  sophistication,  and  Norma  has  it." 

Richard  Dix 

"OEALLY  I  have  two  favorites,"  said  Richard  Dix. 
-^-"One  for  drama  and  high  comedy,  the  other. for  low- 
comedy.     Please  may  I  have  two? 

"George  Arliss  is  my  ideal — the  one  I  would  like  to 
resemble.  He  has  such  an  amazing  versatility  in  his 
character  portrayals.  And  his  technique  is  so  perfect — 
there's  not  a  lost  gesture.  And  down  underneath  there's 
such  an  understanding  of  human  nature  and  such  a 
compassion  for  its  frailties. 

"Benny  Rubin  is  my  favorite  comedian.  He  has  me 
in  stitches.  I  don't  know  why.  If  I  could  analyze  his 
comedy,  I  probably  wouldn't  laugh." 

Janet  Gaynor 

"T'M  just  like  a  lot  of  other  young  actresses  in  that  I 
■*-  admire   Mary  Pickford   above   anybody  else.      She 
has  been  my  ideal  ever  since  I  began  going  to  pictures," 
said  Janet  Gaynor. 

"One  of  the  main  reasons  is  that  she  understands 
child  psychology  so  well.  She  does  the  exact  things  that 
any  other  child  could  do,  or  at  least  that  any  child 
would  wish  to  do.  No  other  actress  ever  has  under- 
stood child  psychology  so  well. 

"But  that  doesn't  mean  that  she  isn't  great  in  grown 
roles,  too.  She  is.  She  has  an  understanding  of  art 
and  life  that  seems  boundless  to  me." 

Doug  Fairbanks 

"ly/TY  favorite  actor,  did  you  ask?     Not  the  greatest 

*■**■   actor?"    demanded    Douglas    Fairbanks.      "Well, 

then,  I'll  just  have  to  tell  you  it's  Doug  Fairbanks,  Jr. 

"I  can  tell  you  why  he's  my  favorite  actor.  You've 
got  to  admit  that  young  Doug  has  subtlety,  a  quality 
seldom  found  in  so  young  an  actor.  And  he  has  great 
naturalness  and  an  effortless  manner.  And,  more  than 
anything  else,  perhaps,  he  is  always  sympatica. 

"There  are  faults  in  his  acting,  lots  of  them.  But 
I'm  not  going  to  tell  you  what  they  are.  He  remains 
my  favorite  actor." 

Joan  Crawford 

VI^ELL,  now,  if  we  can  get  Doug,  Jr.,  to  say  that 
**     Joan  Crawford  is  his  favorite  actress,  this  will 


be  just  one  big  happy  family  with  nothing  to  hide. 

For  Joan  Crawford  admits,  too,  that  Doug,  Jr.,  is 
her  favorite  actor.  She  stands  right  ready,  also,  to  tell 
you  why — there's  no  mere  sentimental  mush  here ! 

"Young  Doug,  to  my  way  of  thinking,  has  actual 
genius.  I  know  that's  a  large  order.  But  genius  is 
more  or  less  instinctive,  isn't  it?  That's  the  way  with 
Doug's  acting.  He  seems  always  to  re-act  emotionally 
exactly  right  to  a  situation.  And  yet  he  has  restraint. 
There's  never  any  hamish  over-acting.  And  please  re- 
member Doug's  acting  has  always  been  like  that,  from 
the  first  moment  he  stepped  into  a  scene." 

Bill   Haines 

ly/TAYBE  Joan  Crawford  is  just  a  bit  of  an  old  meanie 
y'*-  not  to  say  that  Bill  Haines  is  her  favorite  actor, 
inasmuch  as  he  admires  her  so  much. 

And  Billy  has  another  favorite,  too.  She  is  Gloria 
Swanson. 

"I  admire  Joan  because  I  think  that  she  embodies  all 
that  is  lovely  and  spontaneous  in  feminine  youth.  She 
is  youth  incarnate.  But  that  isn't  all.  She  has  the 
makings  of  a  very  great  actress — temperament,  the 
right  sort  of  intelligence.  And  in  the  meantime  she  is 
pretty  and  human. 

"Gloria  is  amazing,"  says  Billy.  "She  is  both  deeply 
human  and  gorgeously  artificial." 

Gary  Cooper 

"T'LL  admit  that,  take  him  all  around,  Charlie  Chaplin 
■*■   is  my  favorite  actor,"  declares  Gary  Cooper. 
"He  makes  me  laugh,  and  I  love  to  laugh.     All  these 
dead  serious  roles  they've  wished  on  me  make  it  neces- 
sary for  me  to  laugh.     No  other  comedian  can  strike 
just  the  same  responsive  chord  that  Chaplin  does. 
"He's  a  great  artiste — but  why  bring  that  up?" 

Victor  McLaglen 

"  ANY  actor  who  has  to  play  all  the  rough  and  ready 
Jr^  guys  I  have  to  play  is  bound  to  adore  some  little, 
sweet,  adorable  morsel  of  femininity  when  he  goes  to 
the  theater,"  said  Victor  McLaglen. 

"And  to  my  way  of  thinking,  Janet  Gaynor  is  the 
utmost  embodiment  on  the  screen  of  all  the  qualities  that 
are  the  opposite  of  the  hard-boiled  characters  I  play. 
I  can  get  quite  sobby  over  Janet's  troubles  on  the  screen. 
I'll  bet  she'd  laugh  if  she  could     (Continued  on  page  108) 

37 


opening 
on  the 
at  the 
Theater 


SPECIAL   PHOTOGRAPHS   BY  STAGG 

All  Quiet  on  the 
Hollywood  Front 


These  striking  night  shots 
were  made  by  NEW 
MOVIE'S  own  photog- 
rapher at  the 
of  "All  Quiet 
Western  Front' 
Carthay  Circle 
on  Wilshire  Boulevard, 
half  way  between  Holly- 
wood and  Los  Angeles. 
By  means  of  sun  arcs,  the 
night  was  made  as  light 
as  day.  The  statue  in  the 
picture  at  the  left  is  the 
much  talked  about  study 
of  an  early  Californian 
panning  gold.  That  was 
before  they  discovered 
there  were  films  in  them 
thar  hills. 

Yes,  the  premiere  of  "All 
Quiet"  was  a  big  social 
event.  Everybody  in  the 
film   business  was  there. 


38 


39 


Photograph  by  Melbourne  Spurr 

It  is  the  night  of  March  3,J915.  The  scene  is  the  Liberty  Theater  in  New  York.  It  is  the  never-to-be-forgotten  premiere 
of  The  Birth  of  a  Nation,"  the  picture  by  which  all  things  cinematic  are  dated.  The  little  colonel,  Ben  Cameron,  in  his 
tattered  grey  uniform,  has  passed  through  the  broken  gate  of  the  old  Cameron  homestead,  up  the  steps  to  the  waiting 
arms  of  his  sister,  done  by  Mae  Marsh,  in  her  pitiful  make-shift  ermine.  The  great  audience  sobs  —  and  cheers. 
Walthall  is  famous.  Today  Henry  B.  Walthall  plays  small  roles  in  the  talkies,  forgotten  by  the  newer  generation.  But, 
to  the  older,  there  will   never  be  ^screen  actor  so  compelling,  so   romantic,  so  lovable.     To  him  —  the  little  colonel  of 

"The  Birth  of  a  Nation" — this  page  is  dedicated. 


40 


LAUGHS  of  the  FILMS 


What  do  you  consider  the  funniest  talkie  joke  of  the  month?  THE  NEW  MOVIE  will  pay  $5  for  the  best 
written  letter  relating  the  best  talkie  joke.  If  two  or  more  letters  prove  of  equal  merit,  $5  will  go  to  each 
writer.     Address  your  jokes  to  Laughs   of  the   Films,  THE  NEW  MOVIE,  55   Fifth   Avenue,  New  York  City. 


41 


The  first  exit  from  a  Hollywood  party.   Tiburcio  Vasquez, 

bandit,  was  shot  as  he  dived  from  the  window  of  his 

girl's  house,  in  what  is  now  Hollywood,  fifty  years  ago. 

Thus  Vasquez  set  a  social  precedent. 


TIBURCIO  VASQUEZ,  bandit,  was  shot  in  the 
pants  as  he  dived  through  the  window  of  his 
girl's  house  in  Hollywood  some  fifty  years  ago. 
He  was  the  first  man  to  make  exit  from  a 
Hollywood  party  in  this  manner.  In  so  doing  he  set 
a  precedent  that  has  proved  most  unfortunate  to  the 
social  standing  of  the  cinema  capital. 

Tiburcio,  though  a  bandit,  was  not  of  the  movies. 
They  came  later.  Nevertheless,  the  early  love  life 
of  California,  with  its  shooting  affrays,  gave  to 
Hollywood  a  sort  of  romantic  hang-over.  The  pioneer 
leaders  of  movie  society  were  quick  on  the  trigger 
and  casement. 

It  was  difficult  for  conventional  Eastern  people  to 
catch  this  spirit  of  whimsy  in  romance  and  fiesta  that 
was  Hollywood's  heritage  from  bandit  days.  They  were 
quite  right  in  criticizing  us  from  their  viewpoint.  It 
was  our  mistake  to  turn  tail  under  this  criticism  and 
attempt  to  imitate  the  effete  East.  Arrayed  in  manners 
unnatural  to  our  soil  we  have  presented  a  sight  as 
pathetic  as  the  South  Sea  Islander  in  top  hat  and 
mother  hubbard.  We  should  have  remained  true  to  our 
traditions,  to  the  pattern  of  Vasquez,  Muri'ieta,  Chavez, 
who,  unlike  the  bandit  immigrants  from  the  East,  were 
always  gallant  and  never  failed  to  ask  a  mother's  bless- 
ing before  holding  up  a  stage  coach  and  scamouching 
off  with  the  good  looking  dames.  But  we  have  be- 
trayed that  heritage  and  so  must  suffer  consequential 
laughter  when  we  attempt  the  tricky  etiquette  of  the 
East. 

"V"OU  doubtless  read  Thyra  Samter  Winslow's  yawn 
J-  at  Hollywood  society  in  a  recent  issue  of  New  Movie. 
It  was  the  topic  of  many  Hollywood  salons  (one  "o", 
printer!).  You  must  have  read,  too,  the  indignant  com- 
ments of  the  actors  the  month  following.  They  said 
that  evidently  Thyra  did  not  meet  the  right  people. 
(Each  said  he  had  not  met  her.)  Obviously  she  did 
not.  I  did  not  meet  her.  So  how  unfair  of  Thyra  to 
talk  of  our  aristocracy  when  she  hadn't  met  us. 

42 


Why  It  Has  Been  Diffi- 
cult to  Reconcile  Effete 
Eastern  Social  Customs 
with  California's  Spirit 
of  Whimsy  in  Romance 
and  Fiesta 


Had  Thyra  come  to  me  with  credentials  from 
blue-booked  persons  of  New  York — say  the  dow- 
ager Vanderbilt,  Jimmy  Walker,  Texas  Guinan  or 
any  of  the  big  mattress  and  soap  endorsers  I  would 
have  initiated  her  into  the  inner  circle  so  to  speak. 

Society  anywhere  is  a  bore  when  it  strains  to  rules. 
Dinner  parties  are  probably  the  most  artificial  attempt 
at  pleasure  ever  conceived.  No  other  animal  aside  from 
the  human  ever  assembles  at  trough  en  masse,  save, 
of  course,  under  the  artificial  compulsion  of  the  barn- 
yard. Certainly  my  dog,  of  pedigreed  ancestry  and  blue 
ribbon  title,  has  never  been  caught  summoning  the 
neighboring  pedigrees  when  he  had  a  good  bone.  Au 
contraire,  he  seeks  isolation  and  concentrates.  He 
realizes  that  eating  is  an  animalistic  sensuality  which 
should  not  be  a  part  of  well-bred  social  intercourse.  No 
one,  dog  or  man,  is  at  his  best  intellectually  whilst 
chewing  the  leg  of  a  dead  hen. 

It  is  only  when  people  are  utterly  themselves  that 
they  are  unique  and  therefore  interesting  specimens, 
be  they  what  they  may.  The  charm  of  Hollywood  is  wan- 
ing because  of  the  effort  to  be  something  else.  And  be- 
cause Hollywood  does  everything  in  a  Bigger  and  Bet- 
ter way,  the  stupidity  of  the  conventional  party  is 
stupendous,  gigantic,  colossal  and  .  .  .  see  billboards 
for  further  adjectives.  Nothing  is  so  pathetic  as 
this  trying  to  do  the  right  thing.  Again  I  refer  piteously 
to  mother-hubbard  Polynesians  and  to  well-bred  dogs 
that  are  forced  to  perform  tricks  at  the  command  of 
humans. 

There  are  among  us,  however,  staunch  souls  who 
refuse  the  yoke  of  our  conquerors.  True  Hollywoodians 
they  may  be  found  in  all  integrity  in  the  privacy  of 
their  homes  provided  you  know  the  password. 

THERE  is,  for  instance,  Corinne  Griffith,  who,  though 
she  has  had  to  compromise  somewhat  with  current 
Hollywood  manners,  is  the  very  essence  of  refinement 
and  femininity.  I  lunched  alone  one  day  with  Corinne 
in  her  Beverly  Hills  palazzo.  I  confess  I  prefer  Corinne 
tete-a-tete  than  at  one  of  her  larger  parties.  Her  gaiety 
amid  the  consuming  mob  always  appears  to  me  forced 
and  ill  at  ease. 

We  lunched  alone  and  it  was  a  brilliant  affair.  She 
had  new  servants.  Pie  came  on  with  the  salad.  We 
chortled  lustily  to  show  we  knew  better,  then  fell  upon 
both.  Afterward  we  sat  under  an  oleander  tree  of  her 
garden  and  reminisced  of  our  Vitagraph  days  when 
Corinne  was  so  poor  she  had  only  one  diamond  bracelet. 
She  told  me  her  secret  was  saving  a  percentage  of  her 
salary  always,  even  when  she  got  only  fifty  a  week. 
"Because  money,"  she  drawled,  "is  the  only  way  to 
freedom  in  the  present  scheme." 

We  discussed  our  Beverly  Hills  properties  and  won- 
dered how  long  we  could  pay  the  taxes.  Then  Corinne 
suddenly  veered  to  the  poems  of  Verlaine  and  Mallarme. 
Perhaps  it  was  the  juxtaposition  of  pie  and  salad.  I'm 
sure  Corinne  would  have  cut  her  throat  rather  than 
make  such  reference  at  one  of  her  big  parties. 


The   LOW-DOWN   on 

HOLLYWOOD 
HIGH    LIFE 


BY  HERBERT  HOWE 


Unquestionably  it  was  the  luncheon.   The 
servant,  acting  on  intuition,  had  caused  us 
to   be  ourselves   likewise.    After   all,   it 
seems  society  is  principally  a  matter  of 
servants.    If   they   serve   the    wrong 
thing  you  are  liable  to  go  off  talking 
of  symbolist  poets  instead  of  box- 
office  records. 

I  recall  the  remark  of  Jim  Tully, 
noted    society    man    and    cotillion 
leader,  over  a  lunch  of  onions  and 
hamburger    in    his    Spanish    joint. 
The  cook  had  just  departed  for  the 
kitchen   after   serving   us  with  as 
fine    a   flourish   as    one    can    serve 
onions    and    hamburger.     "There's 
irony,"  said  Jim,  jabbing  a  fork  in 
the   direction   of  the   cook.    "That 
poor  dame  lays  in  the  hammock 
all    morning     reading    Emily 
Post  and  she  has  to  wait  on       - 
a    guy    who    don't    know      /* 
whether  to  use  a  spoon 
or  a  fork." 

(Continued  on 
page  112) 


ILLUSTRATED 

BY 

GARRETT 

PRICE 


Charlie  Ray  had  the  first  but- 
ler in  Hollywood.  People 
would  ring  Charlie's  bell  and 
then  duck  into  the  agapan- 
thus,  just  to  see  the  butler 
and  to  give  him  what  we  now 
politely  call  the  "bird." 

43 


■da 


Judge  Henry  Cooper,  formerly  of  Montana,  must  be  mighty  proud   of  his  son,  Gary.      His  boy  comes  close  to 

being  the  most  popular  young  man  in  Hollywood,  getting  more  letters  every  day  of  the  week  than  dad  received 

in  a  half  dozen  years.     They've  even  nam=d  a  Montana  town  after  Gary. 


44 


Bebe  Daniels  is  becoming  the  bride  of  Ben  Lyon  at  about  the  time  you  read  this  issue  of   NEW  MOVIE, 
how  Miss  Daniels  and  Mr.  Lyon  met  for  the  first  time  --  and  how  the  romance  started. 


Read  here 


HOW  THEY  MET 

The  Real   Story  of  How  the  Famous  Hollywood 
Romance  Started,  Told  for  the  First  Time 

By  HOWARD  GILL 


HOW  they  met — and  when — and  where. 
The  beginning  of  a  romance  is  one  of  the 
things  poets  have  always  sung  about. 

It's  one  of  the  things   cherished  in  memory 
forever. 

Sometimes  first  meetings  are  casual  and  the  two 
would  be  amazed  and  incredulous  could  they  see  a  few 
years  into  the  future  and  know  that  the  introduction 
wasn't  a  mere  social  convention  but  something  momen- 
tous and  glorious. 

Sometimes  first  meetings  light  an  instantaneous 
spark. 

Often  such  meetings  come  about  by  what  seems  al- 
most a  fluke,  and  later  in  their  happiness  the  man  and 
woman  are  almost  afraid  to  think  how  nearly  they 
came  to  not  meeting  at  all. 


And  still  oftener  business — particularly  in  the  film 
colony — is  responsible  for  bringing  life  partners  to  that 
first  contact. 

HERE  is  how  some  of  them  met: 
A  young  man  named  John  McCormick  was  acting 
as  business  manager  for  a  certain  big  film  corpora- 
tion. He  had  received  a  wire  from  the  bosses  in  New 
York  to  see  Marshall  Neilan  and  get  a  definite  answer 
from  him  on  a  certain  point  in  his  contract.  So  John, 
after  much  telephoning,  located  Mickey  at  his  rooms  in 
the  Los  Angeles  Athletic  Club.  Mickey  told  him  to 
come  on  down — and  John  went. 

In  Mickey's  rooms  were  a  dozen  convivial  souls. 
John  sat — and  sat— and  sat,  getting  madder  by  the 
minute.     Finally,  dinner  time  (Continued  on  page  107) 

45 


Children  of  Stage 
Folks  Always  Turn 
to  the  Theater,  for 
There  Is  No  Way 
to  Fight  the  Glam- 
our of  Acting 


Taylor  Holmes,  the  veteran   comedian   of  the   stage  shows  his  son,  Phillips,  some 

make-up  tricks.    Phillips'  mother,  Edna  Phillips,  was  a  well-known  actress  of  her  day, 

while  Taylor  was  long  a  Broadway  star. 


WHEN  John  Barrymore  was  working  as  a  car- 
toonist and  illustrator  on  the  New  York  Eve- 
ning Journal,  the  editor  of  which  was  Arthur 
Brisbane,  there  came  one  fateful  evening  on 
which  the  youthful  Barrymore  was  saved  for  the  Amer- 
ican stage.  According  to  the  account,  John  had  gone 
off  with  some  boon  companions  to  while  away  the  idle 
hours  in  one  of  those  quaint  pre-prohibition  resorts. 
There  was  made  wassail,  and  finally,  after  some  search, 
the  editor's  emissaries  brought  the  young  artist  back  to 
the  office  to  illustrate  a  most  important  murder  case. 
The  picture  drawn  did  not  show  the  artist  at  his  best, 
as  Barrymore  puts  it.  Brisbane  drew  him  aside  and 
the  conversation  went  thus : 

"Your  family  are  actors,  I  hear,  young  man." 

"Yes." 

"Well,  I  would  strongly  advise  your  trying  the  stage." 

"I  have  anticipated  you,"  answered  the  young  artist, 
and  that  was  the  end  of  journalism  and  the  beginning 
of  a  stage  career  for  John  Barrymore. 

This  sad  story  of  the  child  of  an  actor  striving  for 
better  things,  as  it  were,  and  its  most  unhappy  ending 
for  such,  worthy  ambitions,  is  illustrative  of  a  deep- 
seated  instinct,  affliction,  inspiration,  ambition,  call  it 
what  you  will.  The  children  of  actors  are  always  actors. 
Once  the  magic  of  the  make-believe  land  behind  the 
footlights  has  touched  the  family  tree,  any  limb  may 
go  gay;  and  then  you  have  another  actor  or  actress. 

"IV/fANY  a  present-day  star,  like  Barrymore,  chose  an- 
iV-1  other  path  for  a  time,  but  the  glitter  and  the 
glamour  are  in  the  blood.  Back  they  come,  for  better  or 
for  worse,  praising  or  blaming  the  theater,  but  always 
feeling  that  here  among  the  backdrops  and  stage  sets, 
the  grease  paint  and  the  excitement,  are  their  people. 
The  theater  is  not  an  unkind  mother;  to  all  children  of 
her  blood  she  offers  her  gifts  of  fame  and  fortune, 
sometimes  withheld  for  a  time,  for  she  is  a  stern 
mother;  but  merit  she  recognizezs  with  wealth  beyond 
what  can  be  gained  in  any  other  realm.  Kings  and 
queens  are  proud  to  claim  the  great  ones  of  the  stage 
as  their  friends  and  favorites. 

The  annals  of  some  of  the  stage  families  who  are  now 
working  in  pictures  are  long  and  ancient.    The  family 

46 


of  Joan  and  Constance  Bennett, 
children  of  Richard  Bennett, 
have  a  record  that  stretches 
back  into  the  days  in  the 
sixteenth  century,  when  they 
were  a  group  of  strolling  play- 
ers. Lupino  Lane,  amusing 
comic  that  he  is,  learned  his 
art  from  parents  descended 
from  another  medieval  family 
of  strolling  players  and  mimes. 
Every  generation  has  had  its 
players,  the  art  being  passed 
from  one  generation  to  another 
and  cherished. 

Other    families     of    famous 

ones  may  not  be  able  to  trace 

such  a  lineage,  but  there  are 

very   many   stars    who   can    claim   parents    and    even 

grandparents  who  trod  the  boards  and  made  the  rafters 

ring. 

An  actor,  it  is  well  known,  may  come  from  people  of 
any  station  in  life.  All  strata  of  society  contribute  a 
quota.  Professional  men,  such  as  doctors,  lawyers, 
ministers,  college  professors,  ditch-diggers,  trollops, 
saloonkeepers,  servants,  all  may  have  children  who  turn 
to  the  theater  to  earn  its  rich  rewards.  But  their  chil- 
dren will  be  actors,  it  is  almost  safe  to  prophesy. 

'"PHE  American  stage  has  its  aristocracy,  with  its 
A  Barrymores  and  Drews  and  Bennetts  and  many 
others.  The  circus  people  have  their  aristocracy  as 
well,  and  it  is  a  proud  one.  How  many  of  these  fami- 
lies have  turned  to  the  films  is  interesting  to  see. 

When  John  Barrymore  and  Dolores  Costello  married, 
there  was,  as  all  the  world  knows,  the  linking  of  the 
first  aristocracy  of  the  stage  with  the  first  family  of 
the  screen.  The  career  of  Maurice  Costello,  brilliant 
first  star  of  the  films,  is  one  that  began  on  the  stage, 
in  stock  and  in  road  shows.  Maurice  Costello  played  in 
many  of  those  heart-wrenching  melodramas  of  the  old 
days,  "Human  Hearts,"  "The  Night  Before  Christmas," 
and  others,  so  that  he  was  well  known  when  he  went 
into  the  old  Vitagraph  studio  and  made  film  history. 
Prior  to  him  he  knows  of  no  stage  folk;  but  the  virus 
was  transmitted  to  his  daughters,  Dolores  and  Helene. 
Their  father  was  not  particularly  anxious  to  have  them 
start  a  stage  career,  at  least  just  then,  but  when  the 
two  girls  went  out  and  got  themselves  jobs  in  the 
George  White  "Scandals,"  he  recognized  the  urge  and  let 
them  go  ahead. 

John  Barrymore  has  behind  him  a  record  of  three 
generations.  His  grandmother,  of  the  Drew  family, 
on  his  mother's  side,  was  starred  at  the  age  of  six  in 
London  as  a  child  actress.  Her  daughter,  Georgiana 
Drew,  and  the  mother  of  John,  was  famous  in  her 
time,  playing  with  his  father,  Maurice  Barrymore.  In- 
cidentally, Joan  and  Constance  Bennett's  maternal 
grandmother,  Rose  Wood,  played  with  them.  Now  Joan 
is  playing  with  John  in  the  talkie  version  of  "The  Sea 
Beast." 

There   is  no  information   as  to  any  ancestors   that 


You  CANT  GET 

AWAY  From  IT 


By  ROSALIND  SHAFFER 


Maurice  Barrymore  may  have  had  being  on  the  stage, 
but  the  surmise  is  that  he  had  some.  The  Irish  family 
name  of  Blythe  had  in  it  a  title,  a  Lord  Barrymore,  and 
from  this  comes  the  Barrymore  name,  and  the  crest  of 
the  crowned  kingsnake  which  John  flies  on  his  yacht. 

Through  his  mother,  Georgiana  Drew,  Barrymore  is 
related  to  Sidney  Drew  and  John  Drew,  both  of  whom 
were  famous.  Sidney  Drew  preceded  his  talented  nephew 
into  the  films,  and  made,  among  other  things,  a  series 
of  successful  domestic  comedies  with  his  wife.  Lionel 
and  Ethel,  John's  brother  and  sister,  are  typical  of  the 
Barrymore  and  Drew  talent.  The  daughter  of  Ethel, 
whose  married  name  was  Colt,  has  shown  talent,  and  it 
is  probable  that  she  will  succeed  to  the  mantle  of  the 
Barrymore  name. 

When  John  and  his  brother  Lionel  were  young  men 
they  went  to  Paris  to  study  art.  As  they  ran  through 
their  money,  it  was  back  to  America  and  the  stage  for 
John,  via  the  newspaper  illustrator  route.  It  was  a 
quick  and  easy  way  to  make  money  and,  anyway,  the 
boys  liked  it.    Ethel  was  already  established. 

A  child  of  John  Barrymore  and  his  wife,  Dolores, 
could  hardly  fail  to  carry  on  the  dramatic  career  of  such 
talented  ancestors. 

CWITCHING  back  to  the  Bennett  family,  composed  of 
^  Constance,  Joan  and  Barbara,  they  possess  one  of 
the  most  significant  figures  in  the  American  theater 
today  in  their  father,  Richard  Bennett.  Their  mother 
is  Adrienne  Morrison,  a  star  in  her  own  right  before 


Ruth  Roland  comes  from  two  generations  of  theater 
folks.     Her  grandmother  was  a  Tyrolean  yodler  and 
her  Mother  was  famed  as  "the  California  Nightin- 
gale," an  idol  of  San  Francisco. 


she  married  Bennett.  Her  father,  Lewis  Morrison,  was 
a  noted  actor  abroad  and  in  America,  touring  for  sev- 
enteen years  in  Shakespearean  plays  and  as  Mephis- 
topheles  in  "Faust."  The  Morrisons  are  descended  from 
the  old  English  theatrical  family  of  Wood,  who  come  in 
turn  from  the  Welsh  Wodens,  traveling  troubadours  of 
the  sixteenth  century. 

Another  old  theatrical  family  is  that  of  the  James 
Gleasons  and  their  son,  Russell  Gleason.  Lucille  Web- 
ster Gleason  had  no  forbears  in  the  theater,  she  mar- 
ried into  it.  Jim  Gleason  had  as 
his  mother,  Nina  Crolius  Gleason, 
a  famous  stage  actress  of  New 
York  and  the  Pacific  Coast.  She 
appeared  in  New  York  under  the 
Frohman  banner  for  some  years. 
As  soon  as  she  recovers  from  a 
recent  accident  she  expects  to  be  at 
it  again,  though  she  is  now  sev- 
enty-seven. Her  mother  was  a 
French  actress,  and  her  mother 
before  her  was  a  famous  French 
dancer  of  her  time.  Russell  Glea- 
son represents  the  fifth  known  gen- 
eration in  the  family  of  stage  folk. 
All  three  Gleasons  are  in  films  now. 
Lupino  Lane  has  grease  paint  all 
smeared  over  a  long  and  glorious 
theatrical  ancestry.  The  funny  lit- 
tle comic  from  "The  Love  Parade" 
claims  descent  from  the  oldest  the- 
atrical family  in  the  world,  the  Lu- 

Constance  and  Joan  Bennett  with 
their  mother,  Adrienne  Morrison. 
Richard  Bennett,  their  father,  is  a 
famous  theater  star  and  Adrienne 
Morrison  was  a  popular  actress,  the 
daughter  of  Lewis  Morrison,  a  road 
star  of  other  days. 

47 


Why  Do  Children  of  Actors  Always  Become  Actors? 


Mitzi  Green,  the  screen  child  film 

and  Rosie  Green,  the  long  popul 

appeared  with  her  parents 


pinos.  The  family  was 
originally  Italian,  pan- 
tomimists  who  came  to 
England  three  hundred 
years  ago,  after  a  two- 
hundred-year-old  stage 
ancestry  in  Italy.  Chev- 
alier Georgius  Lupino 
brought  the  first  pup- 
pet show  to  England, 
the  old  favorite,  Punch 
and  Judy,  and  the 
amazement  of  the  Brit- 
ishers, beguiled  from 
their  maypoles  and 
bowling  on  the  green, 
must  have  been  ter- 
rific, for  the  family 
stayed  and  prospered. 
In  this  generation  there 
is  Lupino  Lane,  his 
brother,  Wallace  Lu- 
pino, his  foil  in  pic- 
tures, and  three  cous- 
ins, Stanley  Lupino, 
who  is  starring  in 
London,  Mark,  famous 
in  the  Colonies,  and 
Barry  Lupino,  who  has 
been  featured  in  the 
New  York  musical  shows. 

Lupino's  real  name  is  Harry  Lupino,  not  Lupino 
Lane,  and  thereby  hangs  a  tale.  On  his  mother's  side, 
the  family  of  Lane  were  eminent  as  managers  and 
producers.  Most  famous  among  these  was  Mrs.  Sarah 
Lane,  proprietress  of  the  famous  old  Britannia  The- 
ater in  London  and  one  of  England's  greatest  actresses 
in  her  heyday.  Such  great  actors  as  Sir  Henry  Irving 
and  Beerbohm  Tree  appeared  with  her.  She  enacted 
tragedy  roles  up  to  the  time  of  her  death  in  August, 
1899,  at  the  age  of  seventy-seven. 

It  was  out  of  favor  to  this  grandmother  that  Harry 
Lupino  became  Lupino  Lane.  "There  are  plenty  of 
Lupinos,  but  few  Lanes,"  she  said.  His  father  was 
willing,  but  the  proud  old  Grandfather  Lupino  could 
not  see  why  Lupino  was  not  a  good  enough  name  for 
any  male  member  of  the  family.  However,  he  took 
the  name  Lane.  All  of  his  trick  dancing,  falls  and 
eccentric  comedy  were  taught  him  by  his  father,  and  he 
was  such  an  adept  pu- 
pil that  he  was  billed 
as  a  child  as  Master 
Harry  Lupino. 

A  NY  stage  ancestry 
•^*-  after  this  one  is 
something  of  a  let- 
down. However,  turn- 
ing to  the  case  of 
Douglas  Fairbanks  and 
his  son,  we  find  a  case 
where  the  father  much 
preferred  the  son  to 
delay  his  dramatic  ca- 
reer until  he  was  a  lit- 
tle older.  As  it  was, 
Doug,  Jr.,  began  on  his 
own  at  the  age  of  fif- 
teen, in  "Stephen  Steps 
Out."  Doug,  Jr.  had 
wished  to  be  an  artist 
and  had  studied  in 
Paris,  but  due  to  finan- 
cial reverses  of  his 
mother's,  he  accepted 
the  offer  from  films  to 
make  the  picture  men- 

48 


star,  with  her  parents,  Joe  Keno 
ar  vaudeville  team.  Little  Mitzi 
and  as  a  variety  "single." 


tioned.  It  was  such  a 
ready  source  of  revenue 
that  the  boy  continued, 
though  his  avocations 
are  also  drawing  and 
writing.  Once  more 
the  alma  mater  of  all 
actors'  children  had 
offered  aid  at  a  critical 
time  and  another  dra- 
matic career  had  be- 
gun. 

Marilyn  Miller  is  the 
child  of  a  stage  family 
and  the  stepchild  of 
another.  Her  mother 
divorced  her  father, 
named  Lyn  Reynolds, 
when  Marilyn  was  a 
child,  and  went  with  a 
theatrical  company,  la- 
ter marrying  Caro  Mil- 
ler, the  leading  man. 
At  five,  Marilyn  was 
with  her  mother,  step- 
father and  two  older 
sisters  billed  as  one  of 
"The  Five  Columbias." 
She  was  billed  as  Mile. 
Sugar  Plum  and  did 
family   atmosphere   of 


dancing.     She  grew  up  in  a 
things  theatrical. 

John  Gilbert  comes  of  a  pair  of  theatrical  parents, 
celebrities  in  their  day.  His  father,  John  Pringle,  was 
a  handsome  leading  man  in  stock,  and  his  mother,  Ada 
Adair,  was  a  talented  and  beautiful  actress  who  played 
opposite  John's  father  at  one  time.  John,  too,  essayed 
something  else  than  the  theater,  but  came  back  to  it 
when  he  joined  the  Baker  Stock  Company,  in  Spokane, 
Washington.  As  a  child  of  one  year  he  played  with 
Eddie  Foy.  Later  years  saw  him  attempting  success 
as  a  rubber  salesman  and  as  a  reporter  on  The  Portland 
Oregonian,  after  the  Baker  company  went  broke,  but  he 
was  itching  to  get  back  to  the  theater,  and  finally  com- 
promised with  going  to  work  as  an  extra  for  Tom  Ince. 
After  rising  to  leads  in  films,  he  digressed  to  write  and 
direct,  but  always  he  went  back  to  acting.  He  stifled 
his  higher  emotions  in  gold  and  grease  paint. 

Another  child  born  in  a  theatrical  trunk  is  Eddie 

Quillen,  whose  father, 
Joseph  Quillen,  was  a 
noted  comic.  Eddie  is 
one  of  nine  children, 
all  in  the  racket.  His 
father  managed  five  of 
them  in  their  own  act, 
Now  it's  all  pictures  at 
Quillen's  and  every- 
body works  but  father, 
and  he  worries. 

The  names  of  Rudolf 
and  Josef  Schildkraut 
are  known  the  length 
and  breadth  of  the 
(Contin'd  on  page  114) 

James  and  Lucille  Glea- 
son,  with  their  son,  Rus- 
sell. Jim  Gleason  comes 
of  a  stage  family.  In  fact, 
Jim's  mother,  Nina  Glea- 
son, is  still  acting,  at 
seventy-seven.  Russell 
Gleason  represents  the 
fifth  generation  of  a 
noted  stage  family. 


Photograph  by  Otto  Dyar 

CLARA  The   new — and   sylph-like  Clara — with   her  newest  pet,   Duke,  a   great  Dane.     Duke  goes 

BOW  everywhere  with  Miss  Bow,  past  no  admittance  signs  and  into  sound  stages  where  no  one 

ever  enters  save  a  star  or  a  director. 


49 


Photograph  by  Don  English 

Introducing  Mitzi  Green,  the  first  child  star  of  the  talkies.    Mitzi  grew  up  in  the  theater,  her  parents  being 
known  to  vaudeville  as  Keno  and  Green.    She  used  to  go  on  with  her  father  and  mother  and  do  kid  imper- 
sonations.   Now,  a  film  luminary,  she  is  exactly  nine  years  old. 


50 


The 

PENALTY 

of 

BEAUTY 

BY   GEORGE   CHAPIN 


AT  sixteen  she  was  just  another  girl  selling  hair- 

/\      pins. 
/    \        She  was  happy. 

At  nineteen  she  was  "Miss  America."  Judged, 
at  the  Atlantic  City  Beauty  Pageant,  the  girl  most 
beautiful  of  face  and  form  in  the  entire  United  States. 

After  that  she  was  unhappy. 

At  twenty-four  she  is  just  another  stenographer  in 
Hollywood. 

Now  Fay  Lanphier  is  happy  again. 

The  lot  of  others  always  seems  to  be  the  most  for- 
tunate. No  doubt  many  a  girl  envied  the  gorgeous 
Fay  Lanphier,  perfectly  gowned,  as  she  was  hailed  the 


Fay  Lanphier,  in  1925, 
when  she  was  voted 
Miss  America,  the  most 
beautiful  girl  in  these 
United  States.  She  was 
nineteen  and  weighed 
128  pounds. 


Fay  Lanphier  as  she  is  today,  weight  157  pounds.     She  is 

just   one   of   hundreds   of    stenographers   in    a    Hollywood 

studio — but  she  is  happy. 


most  beautiful  girl  of  the  year.  No  doubt  they  saw 
pictures  and  read  accounts  of  her  going  from  place  to 
place  in  a  luxurious  Rolls-Royce — and  wished  that  they 
could  but  change  places  with  her.  That  they  might  be 
given  all  the  attentions  which  were  showered  upon  Fay 
Lanphier,  that  they  might  enjoy  the  sensation  of  hav- 
ing rich  and  handsome  men  contest  for  the  honor  of 
taking  them  to  dinner,  the  opera,  and  a  night  club. 

They  no  doubt  thought  that  if  they  could  have  these 
things  they  would  be  happy  and  content.  So  did  Fay 
Lanphier. 

But  she  found  out  otherwise.  That  is  why  she  delib- 
erately set  out  "not  to  be  a  beauty."  And  worked  at 
it  just  as  hard  as  do  thousands  of  other  girls  who  slave 
and  punish  themselves  that  they  may  have  one  small 
part  of  the  beauty  this  girl  is  trying  to  erase. 

"T  PUT  on  weight,"  she  said.  "And  although  I  never 
-*-  did  use  much  makeup  I  stopped  using  it  altogether. 
I  wanted  to  be  plain,  to  be  able  to  fade  into  a  crowd  and 
never  be  noticed. 

"Those  days  when  I  was  'Miss  America' — they  were 
nice  in  one  way — but  I  was  never  happy.  Something 
was  always  bothering  me,  causing  me  to  worry. 

"I  wondered  about  getting  a  picture  contract,  and 
then  worried  about  making  good  when  I  did.  I  flopped. 
And  found  out  that  I  did  not  want  to  be  a  picture  star 
and  that  no  one  else  wanted  me  to  be  one  either.  The 
one  picture  I  made,  'The  American  Venus,'  made  a  star 
out  of  Esther  Ralston,  but  it  was  a  heartbreak  to  me. 
I  had  nothing  to  do  in  it  and  doubt  if  I  could  have  done 
anything  had  the  part  I  played  {Continued  on  page  128) 


Fay  Lanphier  deliberately  gave  up 

the  pursuit  of  beauty  for  comfort 

and  happiness 

51 


HOME  TOWN 

STORIES  of  the  STARS 


YOUTH  has  the  habit  of 
making  predictions. 
A  tall,  dark-eyed  boy  and 
a  slim,  golden-haired  girl  met 
at  a  musicale  in  Minneapolis  eight- 
een years  ago.  They  appraised 
each  other  critically,  and  sat  apart 
when  tea  was  served. 

Handsome  Ernest  Brimmer,  of 
St.  Paul,  gave  dramatic  readings, 
and  comely  Edith  Day's  voice  al- 
ready had  won  her  the  adulations  of 
Minneapolis.  Their  hostess  intro- 
duced them  to  the  other  guests  as 
"two  young  persons  of  exceptional 
dramatic  and  musical  ability."  She 
divined  brilliant  futures  for  them. 
The  dapper  young  man,  so  the 
story  goes,  threw  his  very  soul  into 
his  recital  that  afternoon.  The  ap- 
plause was  inspiring,  reassuring. 
But  he  didn't  observe  the  mocking 
smile  of  the  pretty  young  singer  as 
she  floated  towards  the  grand  piano. 
She  sang  like  a  lark,  and  flushed  ex- 
ultantly at  the  plaudits.  Her  eyes 
saw  far  beyond  the  face  of  a  cer- 
tain, in  fact,  the  only  male  in  the 
drawing-room.  His  upper  lip  was 
almost  touching  the  tip  of  his  nose. 
Bored?  Well,  Ernest  was  on  the 
defensive. 


"T   THINK    Mr.    Brimmer    recites. 
-*-       very    well — so    dramatic,    so 
much  fire,"  ventured  the  hostess  while  chatting  with  the 
fledgling  songbird. 

"Why,  I  think  he  is  just  terrible,"  the  girl  replied. 
Her  feathers  were  ruffled. 

Somewhat  taken  aback  the  dear  woman  approached 
the  St.  Paul  boy  on  the  subject  of  sweet  young  sopranos. 
One  in  particular. 


Ernest  Brimmer  (now  Richard  Dix)  at 
the  age  of  eleven  was  the  delivery 
boy  for  Kessler's  grocery  store  in  St. 
Paul — and,  at  that,  pretty  much  of  a 
trial  for  Old  Man  Kessler. 


"Miss  Day  has  a  lovely  voice,  and 
she  is  so  pretty." 

"Oh,  yes,  she's  cute  in  her  way," 
he  admitted.  Then  impetuously: 
"But  she'll  never  amount  to  any- 
thing." 

That  was  in  1912.  Today  that 
"terrible"  dramatic  reader  of  the 
peg-top  trouser  era  is  one  of  the 
"best  sellers"  in  the  motion  picture 
world.  He  is  known  to  millions  of 
movie  patrons  as  Richard  Dix.  In- 
cidentally, Miss  Day  did  very  well. 
In  her  "cute"  way  she  won  fame  as 
the  original  "Irene"  in  the  musical 
comedy  of  that  name. 

Let  Hollywood  and  cinema  audi- 
ences know  the  square-jawed, 
straight-as-an-Indian  screen  star  as 
Richard  Dix,  but  back  in  St.  Paul, 
his  home  town,  he  is  known  as 
"Pete"  Brimmer.  Just  plain  "Pete" 
to  his  boyhood  pals.  None  of  the 
old  gang  remembers  just  how  he 
came  by  the  nickname.  It  doesn't 
matter,  anyhow.  Most  of  the  men, 
who  as  youngsters  comprised  the 
St.  Anthony  Park  gang,  have,  like 
"Pete"  Brimmer,  sought  fame  and 
fortune  outside  the  Twin  Cities. 
Yet,  one  of  the  motion  picture  ac- 
tor's closest  friends  still  lives  in  St. 
Anthony  Park.  He  is  William  Grant 
Gray  and  his  home  is  but  a  short 
distance  from  1208  Raymond  Av- 
enue where  Brimmer  was  born,  July  18,  1896. 

The  house  still  stands.  "Pete"  and  Grant  inspected 
it  last  summer  when  Brimmer  spent  a  week  in  St.  Paul. 
The  apple  tree  in  the  yard  was  bearing  fruit,  but  it  was 
a  taller  tree  than  when  "Pete"  last  plucked  a  green 
apple  from  it. 

No  one,  except  Dix  himself,  knows  more  about  the 
boyhood  of  "Pete"  Brimmer  than  Mr. 
Gray.    He  and  "Pete"  fished  and  swam 
and   fought  and   worked   together   in 
the  magic  days.    Assuming  the  role  of 
biographer   Mr.    Gray    recounted   the 
high  spots  of  Dix's  youth.     He  con- 
fessed that  he  was  "holding  out  a  bit," 
but  his  word  picture  was  enough  to 
show  that  Brimmer's  early  life  was 
that  of  a  normal,  red-blooded  Ameri- 
can boy.     Biographer  Gray  began  by 
disclosing  the  actor's  stage  name  was 
devised  and  used  many  years  before 
"Pete"  gave  serious  thought  to  a  the- 
atrical  career. 
Our    gang    de- 
cided   to    raid 
one  of  the  ag- 
ricultural    col- 
lege  apple   or- 
chards.     (The 
University     of 
Minnesota  Col- 
lege   of    Agri- 
culture is  in  St. 
Anthony 


Former  playmates  of 
Ernest  Brimmer  re- 
member him  as  a 
"  regular  fatty."  Here 
you  will  learn  how  he 
first  hurriedly  adopted 
the  name  of  Richard 
Dix,  under  the  ques- 
tioning of  a  policeman. 


52 


How  "Pete"  Brimmer  Grew 

Up  to  be  Richard  Dix — and 

the  Idol  of  St.  Paul 

By  CHARLES  W.  MOORE 

of  the 
St.  Paul  Pioneer  Press 


Park.)  The  fruit  was  good — scientifically 
propagated,  you  know.  'Pete'  was  one  of  the 
first  to  crawl  over  the  fence  into  the  orchard. 
We  were  having  a  swell  time  disposing  of  the 
spoils  when  out  of  the  gloom  a  huge  figure 
waddled  toward  us.  It  was  Ole  Hanson.  ( Ole 
was  and  still  is  the  limb  of  the  law  in  the  dis- 
trict.) We  were  caught  red-handed.  One  or 
two  of  the  gang  got  away,  but  Ole  herded  the 
rest  together  and  started  asking  questions. 
He  wanted  our  names.  Ole  knew  every  moth- 
er's son  of  us  in  daylight,  but  the  orchard 
was  dark.  The  first  boy  gave  a  fictitious 
name.  So  did  the  next  and  on  down  the  line 
until  it  was  'Pete's'  turn. 

"I'll  never  forget  him.  He  stood  there 
calmly  chewing  on  a  niched  apple.  He 
smacked  his  lips.  'My  name's  Richard  Dix,' 
he  told  Ole,  and  sauntered  away  as  if  the  fat 
old  copper  had  caught  the  chief  of  police  him- 
self. I  guess  nothing  ever  came  of  that  es- 
capade, except  that  we  were  watched  very 
closely  from  then  on  by  college  authorities. 
'Pete'  used  the  name  Richard  Dix  many  times 
afterward.    The  gang  got  used  to  it. 


Richard  Dix  always  had  a  flare  for  reciting.  He  played  roles  in  the 
various  student  shows  of  the  Central  High  School  and,  after  graduation, 
overrode  parental  objections  and  turned  to  the  stage  as  a  profession. 


"  'Pete'  was  pretty  husky  when  he  was  a  kid.  He- 


"Oh,  he  was  a  regular  fatty."  This  from  Mrs.  Gray. 
As  the  sister  of  Harold  "Clemy"  Clemons,  one  of  Brim- 
mer's pals,  she  remembers  "Pete"  vividly. 

"No,  he  wasn't  dear." 

"Well,  I  guess  my  memory  is  pretty  clear.  'Pete'  was 
pudgy  and  sort  of  awkward  when  he  was  eleven  or 
twelve  years  old.     I  knew  him  pretty  well. 

"One  summer  before  he  entered  Central  High  School 
'Pete'  was  delivery  boy  for  Kessler's  grocery  store.  The 
groceries  were 
transpoi'ted  in 
an  old  rickety 
wagon  drawn 
by  an  aged 
grey  mare. 
'Clemy'  was 
the  assistant 
helper.  'Pete' 
and  unpaid 
would  wait  un- 


At  the  right,  the 
house  at  No. 
1208  Raymond 
Avenue,  St.  Paul, 
where  Richard 
Dix  was  born  in 
1896.  It  still 
stands.  In  the 
yard  is  the  same 
apple  tree  that 
Dix,  as  little 
"Pete"  Brimmer, 
used  to  climb 
forgreenapples. 


til  the  wagon  was  jammed  full  of  orders  before  starting 
on  a  delivery  trip.  Old  Man  Kessler's  hardest  work  was 
finding  'Pete'  when  the  load  was  ready.  The  first  stop 
every  morning  was  in  front  of  our  house.  The  stop  was 
always  made  whether  or  not  my  mother  had  ordered 
food.    'Pete'  was  there  to  get  my  brother. 

"Morning  after  morning  (until  young  Brimmer  lost 
his  job)  the  indolent  young  upstart  would  sit  out  in 
front  and  shout:  'Clemy,  oh  Clemy!'  His  voice  was 
monotonous.     'Clemy'  usually  was  in  bed  and  he'd  come 

downstairs  and 
eat  breakfast 
before  joining 
'Pete.'  Some- 
times it  was  an 
hour  before 
they  would  get 
started.  Mean- 
while, neigh- 
borhood house- 
wives  were 
waiting  for 
their  groceries. 
"Whenever 
'Pete'  had  an 
order  for  us  he 
would  leave 
everything  but 
one  item  out- 
side the  door. 
Then  he  would 
knock,  walk  in- 
to the  kitchen 
and  s  t  u  m  ble 
purposely. 
Whatever    was 

(Continued 
on  page  118) 

53 


By 

HERB 

HOWE 


A  Hollywood  extra  leaves  home  for  the  day's  work.     Extras  stagger  from  dugout 

to  dugout  these  days.     During   the  last  few  years,  says  Herb   Howe,  the  World 

War  has  become   Hollywood's  leading  industry. 


"A1 


LL  QUIET  ON  THE  WESTERN  FRONT"  will 
not  end  war,  but  it  should  end  war  pictures, 
a  boon  almost  as  great. 
The  armistice  was  signed  twelve  years  ago, 
but  our  Hollywood  boys  are  still  in  the  trenches.  They 
stagger  from  dugout  to  dugout,  going  nutty.  Indeed, 
I'm  safe  in  saying — my  passport  in  paw — that  there's 
scarcely  a  Hollywood  actor  who  hasn't  gone  nuts.  All 
cases  are  not  due  to  shell  shock;  nevertheless,  I  see  no 
reason  to  stimulate  a  natural  aptitude  artificially.  Hol- 
lywood is  trying  enough  on  one's  sanity  without  having 
it  imitate  Verdun  day  and  night.  During  the  last  few 
years  the  World  War  has  become  our  leading  industry. 
There  is  more  acreage  seeded  to  shells  than  to  citrus. 
However,  I  foresee  a  sharp  return  to  normal  conditions. 
(That  should  be  in  quotes,  but  I  don't  know  who 
said  it  first.) 

"J  LL  QUIET  ON  THE  WESTERN  FRONT"  leaves 
SI  nothing  more  to  be  said.  It's  the  straight  stuff, 
genuine  as  Pilsener,  unneedled  by  the  go-goofy  tonic  of 
romance  and  glory.  The  Boulevardier's  business  is  not 
reviewing  pictures.  (Never  mind  what  it  is,  it  beats 
work.)  But  this  is  not  a  picture,  it  is  the  war  itself. 
As  one  who  dipped  a  beak  in  French  mud,  I  know  the 

54 


flavor.  Old  patriotic  pusses  who 
prefer  the  gin  and  orange  juice 
of  delusion  may  not  enjoy  it; 
nevertheless  let  them  plunge  the 
proboscis  for  an  evening.  It 
may  save  them  knitting  them- 
selves nuts  through  another 
war.  It  may  even  prevent  them 
— silly  hope — from  tossing  the 
word  "Red"  as  carelessly  as 
"Boche,"  stay  them  from  baiting 
Russia  on  hearsay  for  "religious 
persecutions,"  lessen  their  zeal 
in  fattening  little  boys  for 
another  big  devil  stew. 

(~)UT  of  the  mud  of  this  pic- 
^-,  ture  arises  the  most  sensi- 
tive face  I've  seen.  Through 
the  shrieking,  quivering,  whim- 
pering screen  crashes  a  new 
star.  Mr.  Lew  Ayres.  Not  since 
I  saw  Charles  Ray  in  "The 
Coward"  and  Richard  Barthel- 
mess  in  "For  Valor"  have  I 
pounded  the  drum  of  "discov- 
ery" with  such  assurance.  The 
Boulevardier's  boutonniere  for 
the  month  goes  to  Lew's  lapel. 

P'OURTEEN  years  ago  Ju- 
A  lian  Johnson  heralded 
Charles  Ray  "Ince's  Wonder 
Boy."  I  might  be  tempted  to 
swipe  the  title  and  call  Lew 
"Laemmle's  Wonder  Boy"  were 
it  not  for  the  ludicrous  fact  that 
he  and  producer  "Junior"  Carl 
Laemmle  are  the  same  age, 
twenty-one. 

"Uncle"  Carl  Laemmle,  a  loved 
character  of  the  film  world, 
gave  son  Carl  Jr.,  the  Universal 
studio  to  play  with.  Offered 
eighty  million  for  the  property,  Uncle  Carl  said:  "No, 
Junior  thinks  he'd  like  to  have  it,  and  so  I  guess  I'll 
let  him  play  with  it." 

J  WAS  at  Buddy  Rogers'  home  in  Beverly  Hills  the 
*■  other  night.  He  recently  bought  a  house  on  Bedford 
Drive,  tvhich  he  shared  with  his  dad  and  mother.  He 
played,  me  his  two  phonograph  records  which  he  had 
just  received. 

"I  take  your  word  for  it,"  I  said,  "but  the  voice 
doesn't  sound  like  yours." 

For  that  matter  Buddy's  voice  off  screen  is  utterly 
different  from  on;  the  victrola  reproduces  still  a  differ- 
ent one.    Buddy  is  a  vocal  Chaney. 

"DUDDY  gets  three  cents  for  every  one  of  his  records 
■*-*  sold.  I  need  not  urge  the  sisters  of  my  congregation 
to  buy  until  it  hurts.    Buddy  must  be  kept. 

Buddy's  personality  differs  from  the  one  on  the 
screen  as  much  as  his  voice  differs  from  the  talkie.  He 
is  taller,  more  mature.  There  is  not  the  pop-eyed  puppy 
eagerness.  On  the  screen  he  wears  a  white  make-up; 
off  the  screen  he  has  a  tanned  olive  skin  and — on  occa- 
sion— a  stubble  of  beard  as  black  as  Harold  Lloyd's.  He 
reminds  me  of  Harold  in  other  ways.    He  speaks  to  you 


The  HOLLYWOOD 
BOULEVARDIER 


Tries  to  Get  Hollywood  Out  of  the 
Trenches  —  Discovers  Young  Lew 
Ayres  —  Visits  Buddy  Rogers  and 
Writes  About  Doug  Fairbanks,  Senior. 


in  the  same  hushed 
confidential  tones.  He 
also  deprecates  him- 
self. He's  careful 
about  what  he  says 
since  an  interview 
quoted  him  saying  he 
received  more  letters 
than  Valentino. 

"What  the  Valentino  fans  wrote  me,  oh  boy!"  Buddy 
shudders.  It's  ironical  but  a  fact  that  the  dead  Val- 
entino is  more  popular  than  any  living  star. 

rTyHE  reason  everybody  is  getting  by  as  a  singer  in  the 
•*■  talkies  is  that  before  the  talkies  we  never  knew  that 
was  singing. 

'"pHE  other  morning,  while  I  was  in  my  bath,  Jeanette 
•*-  MacDonald  started  singing  in  the  next  room.  I 
didn't  know  my  colored  boy  had  been  fumbling  with  the 
phonograph.  It  is  rather  startling,  to  say  the  least,  to 
hear  a  girl's  familiar  voice  singing  "The  Love  Parade" 
at  you  in  your  shower.  I  mean  to  say  the  heart  may 
start  pounding,  and  you  are  liable  to  slip  on  the  soap 
reaching  hastily  for  the  bathrobe.  It  was  a  Victor 
record,  of  course,  for  Jeanette  does  not  broadcast  in  the 

bathing  hour.  When  tele- 
vision permits  her  to  do 
so,  I  shall  become  a  friend 
of  radioland. 


DOUG       FAIR- 
BANKS,    JR., 

says  his  father  is  pri- 
marily an  actor.  All 
actors  are  primarily 
actors.  I  once  asked 
Florence  D  e  s  h  o  n  , 
then  close  friend  of 
Charlie  Chaplin,  if  Charlie  really  was  a  Socialist,  a  Com- 
munist. 

"Charlie  a  Socialist,  a  Communist?  .  .  .  Charlie's  an 
actor,"  said  Florence  with  a  gentle  smile. 

I  recall  an  afternoon  at  the  studio  when  Doug  Fair- 
banks, Sr.,  was  worrying  about  Doug  Jr.,  becoming  an 
actor. 

"I'd  like  to  send  him  to  college,  get  him  away  from 
Hollywood,"  said  Doug  Sr.  "I'm  afraid  if  he  hangs 
around  here  he'll  become  an  actor.  I  hate  actors,  don't 
you?" 

A  smile  was  my  only  reply — on  advice  of  counsel. 
"I'm   not   an   actor,"    said    Doug   quickly.      "Charlie 
Chaplin  is." 

T^OUG  FAIRBANKS,  SR.,  is  one  of  the  few  actors 
*^*  who  does  not  disappoint  off  screen.  He  transmits 
the  same  enormous  energy  and  exuberance.  Most  actors 
like  to  pose  as  something  different  than  their  screen 
selves.  Na'ive,  they  go  sophisticate  and  talk  women. 
Roues,  they  act  like  swooning  saints  and  cry  a  little. 
In  a  word,  actors  act  harder  off  screen  than  on.  Doug 
doesn't.     He  plays  himself         {Continued  on  page  97) 


Two  gobs  looking  wistful  in   Hollywood.       They  take  their  movies 
seriously  and  are  looking  for  Clara  Bow,  the  sweetheart  of  the  navy. 


Sill  \    M/U^\ 


DRAWINGS  BY 

KEN 
CHAMBERLAIN 


.5.5 


BANQUET 

PATTER 

BY 

HOMER 
CROY 


Louise 
e  n  d  a 
opened  her 
eyes  and  put  on 
her  make-up  for  the  first  time,  they 
told  her  the  place  was  Lafayette,  In- 
diana,   and   the    date    June    17,    1895. 
"Personally,   I  do  not  remember  it,"  she 
says  frankly.     "All  I  know  about  it  is  hear- 
say." 
That  is  her  real  name ;  her  family  is  Italian  and, 
back    in   sunny   Italy,   Fazenda   means    "farmer." 
She  did  not  remain  long  in  Lafayette,  for,  when  she 
was  three  months  old,  she  left  Lafayette  and  went  to 
Los  Angeles,  California.     This,  of  course,  was  with  the 
help  of  her  parents. 

The  family  did  not  have  a  great  deal  of  money  and 
Louise  had  to  go  out  where  money  was  and  help  bring 
it  back.  She  got  a  job  in  a  candy  factory  and  became 
a  chocolate  dipper.  Here,  day  after  day,  Louise  worked, 
dipping  chocolates  and  dreaming  of  grease-paint. 

She  also  taught  a  Sunday  School  class,  and  while 
teaching  this  class  got  a  job  briefly  with  Mack  Sennett 
as  one  of  his  bathing  beauties.  Sunday  morning  she 
would  teach  her  Sunday  School  class  and  Monday  morn- 
ing she  would  put  on  a  smile  and  a  bathing  suit  that 
could  be  sent  through  the  mail  to  Guam  for  a  six-cent 
stamp,  and  kick  up  her  heels  in  front  of  the  camera. 


I  shudder  to  think  what  would  have  happened  if  her 
Sunday  School  superintendent  should  have  wandered 
into  the  Bijou  some  Saturday  night  and  have  seen  his 
Sunday  School  teacher  come  galloping  out  on  the  screen 
in  a  smile  and  a  bathing  suit  about  as  big  as  a  pen-wiper. 

After  a  time,  Louise  took  off  the  bathing  suit,  put  it 
carefully  away  in  a  pill-box,  skinned  back  her  hair  and 
became  a  comedienne. 

Yes,  boys,  she  is  married.  Hal  Wallis,  one  of  the  big 
shots  at  First  National,  saw  her,  took  her  out  riding  in  a 
rubber-tired  buggy  and  gave  her  a  bag  of  chocolates  in 
the  moonlight.  The  old  chocolate  urge  came  over  her, 
she  could  not  resist,  and  when  the  census  taker  called 
at  5402  West  Ninth  Street,  Hollywood,  and  asked  her 
what  her  business  was  she  had  to  answer  "Housewife." 

So  hooray !  for  the  little  chocolate  dipper  who  turned 
out  to  be  one  of  the  best  comediennes  on  the  screen. 

J£EN  MAYNARD:  My  friends,  we  have  come  to  a 
place  in  our  program  this  evening  which  you  ought 
to  remember  all  the  rest  of  your  lives.  I  am  now  going 
to  introduce  to  you  a  cowboy  actor  who  is  a  real  cowboy, 
and  never  bought  anything  in  a  drug  store  in  his  life  ex- 
cept silver  polish  for  his  spurs.  KEN  MAYNARD,  stand 
up,  you  bean  pole,  and  let  the  ladies  and  gentlemen  rest 
their  eyes  on  you. 

Ken  Maynard  made  his  first  appearance  in  the  saddle 
July  21,  1895,  at  Mission,  Texas,  and  has  been  riding 
ever  since. 

The  most  wonderful  thing  that  could  happen  to  any- 
body in  the  whole  world  happened  to  him — ask  any  boy. 
His  father  gave  him  a  saddle,  he  began  to  practice  fancy 
riding — and  became  chief  rider  for  Barnum  and  Bailey 
and  Ringling  Brothers'  Circus.  If  that  isn't  success,  I 
don't  know  what  is ! 


WE  HAVE  WITH  US 


56 


Reading  around  the  banquet 
lable  from  left  to  right:  Ra- 
mon Novarro,  Lew  Ayres, 
Louise  Fazenda,  Mr.  Croy, 
Ken  Maynard,  Norma  Shearer 
and  Edmund  Lowe. 


But  Kenneth  (that's  the  name  he  was  born 
with — think  of  a  cowboy  being  named  Kenneth!) 
has  more  on  his  rope  than  a  double  flying-loop,  for  he 
also  went  to  an  engineering  school  and  was  graduated 
with  the  degree  of  "civil  engineer." 

He  was  such  a  real  bona  fide  cowboy  that,  in  1920  in 
Chicago,  he  won  the  world's  championship  for  trick 
riding  and  roping.  So  when  you  see  him  climb  into  a 
saddle  you  can  know  that  you're  going  to  see  something 
to  talk  about  when  you  get  home. 

However,  he  is  only  a  cowboy  on  the  stage.  He  would 
no  more  think  of  putting  on  a  ten-gallon  hat  and  a  pair 
of  spurs  and  swanking  down  Hollywood  Boulevard  than 
a  Scotchman  would  think  of  treating  his  Sunday  School 
class  to  double  deck  ice-cream  cones. 

He  has  been  married  five  years  and  has  a  Wright 
Whirlwind  airplane  and  a  pilot's  license. 

T^DMUND  LOWE:  Ladies  and  gentlemen,  if  you  will 
*-*  remain  seated  I  will  introduce  another  speaker  to 
you.  He  is  none  other  than  EDMUND  LOWE.  Now 
aren't  you  glad  you  stayed? 

Edmund  opened  his  eyes  and  yelled  defiance  into  Vic- 
tor McLaglan's  face  for  the  first  time  on  March  3,  1892. 
The  place  was  San  Jose,  California. 

Edmund  was  smart  in  school,  his  career  upsetting 
the  idea  that  the  boy  who  stands  at  the  head  of  his 
class  will  never  get  any  further  in  life  than  a  white 
apron  behind  a  soda  fountain. 

Edmund  ran  to  brains  (this  was  before  he  had  the 
mustache)  and  took  every  scholarship  prize  that  came 
along.  He  graduated  at  High  School  and  then  went  to 
Santa  Clara  University  and  finished  there  at  the  age 
of  eighteen  with  the  degree  of  Bachelor  of  Arts.  Not 
content  with  this  he  kept  right  on  going  to  college  and 


finally    walked    off    with 
the    degree    of    Master    of 
Arts.  Pretty  good  for  Sergeant 
Quirt,  n'est  ce  pas? 

But  all  the  time  he  was  bent  over 
his  books  he  was  dreaming  of  grease 
paint,  and  once  you  get  the  smell  of  grease 
paint  in  your  nostrils  you're  ruined  for  life. 
He  came  down  to  Los  Angeles  and  got  a  job 
play  actin'  in  a  stock  company,  and  pretty  soon 
Broadway  said,  "Come  East,  young  man,"  and  Ed- 
die came.     When  he  returned  he  was  a  star  with 
his  name  on  a  dotted  line. 

The  most  remarkable  thing  about  Edmund  Lowe  is 
something  you  never  see  in  the  papers.  It's  his  ranch. 
He's  as  proud  of  it  as  he  was  of  his  first  degree.  It's 
at  Skyland,  in  the  Santa  Cruz  Mountains,  and  is  con- 
sidered one  of  the  finest  grape  ranches  in  that 
tion  of  California.    He  produces  tons  of  grapes. 

What  happens  to  those  grapes?    Nobody  knows, 
only  thing  we  know  is  that  when  next  year  rolls  around 
he's  plumb  out  of  grapes. 

Now  can  you  understand  why  people  fight  in  the 
street  to  get  a  week-end  invitation  to  the  Santa  Cruz 
Mountains? 

Stand  up,  Edmund  Lowe,  and  tell  us  about  them 
grapes.  (  Continued  on  page  132) 


sec- 


The 


TONIGHT 


DRAWING  BY  HERB  ROTH 

Homer  Croy  Presides  at  Another 
New  Movie  Magazine  Banquet 


57 


DOLLAR 
THOUGHTS 


The   New   Movie   Magazine   Readers 

Express  Their  Opinions  of  Film  Plays 

and   Players — and  This  Monthly 


Too  Good  to  Be 
True 

Alameda,  Calif. 

The  magazine  with 
a  personality !  That  is 
a  full  description  of 
this  amazing  NEW 
Movie  Magazine.  It 
has  IT  —  to  say 
nothing  of  "them" 
and  "those."  When  I 
hear  that  a  new  issue 
is  out  I  hotfoot  it  to 
get  my  copy.  Once  I 
get  started  looking  at 
the  pictures  and  read- 
ing the  clever  "write- 
ups"  I  never  stop  un- 
til I  have  finished  the 
book.  And  to  think 
— all  this  joy  for  one 
thin  dime!  It  is  al- 
most too  good  to  be  true,  isn't  it? 

M.  Vigen, 
1533  Mozart  Street. 

A  Word  for  Ruth 

Bronx,  N.  Y. 

Hollywood,  the  haven  of  the  best  producers  and  direc- 
tors. But,  what  is  the  matter  with  these  great  men? 
They  are  supposed  to  recognize  talent,  to  glorify  it,  and 
yet,  out  there  in  Hollywood  is  the  greatest  actress 
America  has  ever  had,  Ruth  Chatterton,  and  she  is 
barely  appreciated.  Actresses  who  do  not  possess  half 
of  her  ability  are  placed  on  a  pedestal,  admired  and  a 
great  fuss  is  made  over  them.  Give  a  little  more  credit 
to  Ruth  Chatterton. 

E.  McPartland, 
2351  Grand  Concourse. 

Speaks  with  Authority 

London,  Canada. 

Yours  is  the  first  magazine  of  the  movies  which 
tempts  me  not  to  miss  a  copy.  The  price,  of  course,  is 
attractive,  but  the  quality  of  stories  and  pictures  is 
decidedly  the  best  in  this  class  of  magazine. 

I  particularly  liked  the  story  of  Mary  Pickford  by 
Miss  St.  Johns,  with  its  overtone  far  above  the  usual. 
Your  stories  have  a  sane  authoritativeness  that  is 
convincing  as  well  as  entertaining. 

Amy  E.  Thorburn, 
8  The  St.  George  Apts. 

The   One   Movie   Magazine 

St.  Louis,  Mo. 

Have  just  been  reading  the  latest  issue  of  your  won- 
derful magazine.  Have  enjoyed  all  of  the  numbers  so 
far,  and  cannot  wait  for  the  next  to  appear.  It  is  the 
only  movie  magazine  I  am  buying  now  and  I  used  to 
buy  almost  all  of  the  film  publications  every  month. 
The  New  Movie  Magazine  contains  all  of  the  news, 
pictures  and  reviews  essential  for  the  readers  to  know 
just  what  is  going  on  in  the  motion  picture  world.  In 
addition,  I  like  the  recipes,  beauty  articles  and  cartoons. 
Mr.  Hyland's  articles  are  an  especially  good  part  of  your 
magazine. 

Angeline  Frockman, 
573  Paul  Brown  Bldg. 

The  Greatest  10-Cent  Bargain 

Toledo,  Ohio 

A  cozy  chair,  a  soft  breeze, 
and  a  New  Movie  Magazine — ■ 
that's  real  comfort.  This  month- 
ly, with  its  hosts  of  remarkable 
stories,  vivid  interviews,  start- 
ling confessions,  screen  reviews, 
countless  pictures  of  screen 
favorites,  and  numerous  other 
comments  and  details  on  filmland 
is  certainly  the  greatest  10-cent 


my  New  Movie  book. 


THE  NEW  MOVIE  MAGAZINE  pays  one 
dollar  for  every  interesting  and  con- 
structive letter  published.  Address  your 
communications  to  A-Dollar-for-Your- 
Thoughts,  THE  NEW  MOVIE  MAGAZINE, 
55  Fifth  Avenue,  New  York  City. 


bargain  in  existence. 

Myldred  Erd, 
1019  Moore  Street. 

Helped  Give  a 
Party 

Gloucester,  Mass. 

Writing  to  you  and 
telling  you  how  much 
your     New    Movie 
Magazine  helped  me. 
I  read  about  Lillian 
Roth's    Buffet     Lun- 
cheon, so  I  had  a  party 
and    tried    the    same 
menu.     We  all  had  a 
great    time    and    the 
party  went  over  great. 
Now  whenever  I  want 
to  know  how  to  plan  a 
party  or  wedding  or 
shower  all  I  have  to 
do  is  to  look  through 
Of  course  I  get  them  every  month. 
Jeanine  Capillo, 
7  Marshfield  Street. 
Tip-Top 
Huntington,  W.  Va. 

Hurrah  for  The  New  Movie  !  A  tip-top  magazine  at 
rock-bottom  price!  How  can  you  do  it?  But  anyhow 
I  am  glad  you  do  do  it — for  I  love  The  New  Movie, 
and  it  fits  my  meagre  purse  in  price  and  fills  my  big 
hungry  heart  that  cries  for  movie  news. 

Mary  Harvel  Kerns, 
1308  10th  Avenue. 

Wants  Her  Photograph 

Detroit,  Michigan 

I  wish  to  write  about  something  which  has  been  on 
my  mind  for  a  long  time  and  is  puzzling  me. 

Why  don't  Buddy  Rogers'  studio  secretaries,  or  who- 
ever they  are  that  take  care  of  his  mail,  take  better 
care  of  all  of  the  letters  which  he  receives? 

I  am  referring  to  an  incident  which  happened  to  me 
while  Buddy  was  making  a  personal  appearance  at  one 
of  our  theatres. 

I  sent  a  letter  requesting  a  photograph  and  I  enclosed 
a  coin  with  which  to  help  defray  expenses.  A  short 
time  later  I  received  a  card  telling  me  in  a  very  nice 
way  that  the  money  was  forwarded  to  the  studio  and 
my  request  would  be  taken  care  of. 

Well,  it's  over  six  months  now  and  I  doubt  if  I'll  ever 
receive  that  photo. 

Anna  Maceopa, 
3410  Leuschner  Ave. 

15  Miles  to  Get  Her  Copy 

Wellesley  Hills,  Mass. 

Upon  reading  one  number  of  your  magazine  I  imme- 
diately became  a  New  Movie  fan,  and  when  I  heard 
there  was  another  number  out,  I  spent  the  whole  day 
searching  for  a  store  that  was  not  "sold  out."  I  eventu- 
ally had  to  travel  fifteen  miles  out  of  town  to  get  my 
copy,  but  it  was  well  worth  the  effort. 

If  you  will  get  Miss  Rogers  St.  Johns  to  give  us  an 
interview  with  that  delightful  exponent  of  poise  and 
suavity,  Mr.  Clive  Brook,  I  would  willingly  travel  fifty 
miles  out  of  town  for  a  copy  of  the  magazine. 

Alice  Louise  Cowlard, 
199  Worcester  Street. 

Suggestion  to  Producers 

Canton,  Ohio 

I  feel  the  same  as  many  other 
fan  people  do.  I  think  the  list 
of  characters  should  be  shown  at 
the  end  of  the  picture  also: 
When  the  long  list  is  shown  at 
the  beginning  it  is  impossible  to 
remember  who  takes  some  of 
the  minor  parts.  Often  one  is 
{Continued  on  page  104) 


58 


Photograph  by  Hurrell 


STANLEY  SMITH 


59 


Photograph  by  Hurrell 


BESSIE  LOVE 


60 


LILLIAN  ROTH 


61 


Another 
STAR 
from 
ABROAD 


Early  next  fall  Samuel 
Goldwyn  will  present 
Evelyn  Laye  in  a  musical 
film.  Miss  Laye  recently 
starred  on  Broadway  in 
the  musical  comedy,  "Bitter 
Sweet." 

Miss  Laye  grew  up  in  the 
theater.  Her  father  was 
an  English  actor  and  stage 
manager.  She  has  played 
in  all  sorts  of  footlight 
entertainment:  melodrama, 
comedy,  pantomime,  revue 
and  operetta.  She  became 
a  London  idol,  following 
her  hit  in  "Madame  Pomp- 
adour." Since  that  she  has 
played  in  a  revival  of  "The 
Dollar  Princess,"  in  "Prin- 
cess Charming,"  "Lilac 
Time"  and  in  "The  New 
Moon."  She  is  unusually 
pretty  and  possesses  a 
voice  of  distinct  loveliness, 
all  of  which  indicate  high 
possibilities  for  her  on  the 
sound  screen. 


Photograph  by 

Edward  Thayer  Monroe 


62 


■■■■■■■■ 
LAURA  LA  PLANTE 


Photograph  by  \V.  F.  Seely 


Photograph  by  Otto  Dy< 


NANCY  CARROLL 


64 


Years  ago,  when  David  Belasco  starred  Mary 
Pickford  in  the  fanciful  "A  Good' Little  Devil," 
Lillian  Gish  appeared  in  the  minor  role  of  a 
good  fairy.  The  other  day,  however,  Miss 
Gish  returned  to  the  speaking  stage  in  New 
York.    Her  reception  was  remarkable. 

Miss  Gish  came  back  in  "Uncle  Vanya,"  a 
comedy  by  the  Russian,  Chekhov.  She  had 
the  role  of  Helena.  Of  her,  Robert  Littell 
said  in  The  New  York  World :  "She  is  not 
quite  like  any  other  actress  I  have  ever  seen, 
with  a  lovely  repose  and  certainty,  a  combi- 
nation of  delicate  shades  and  pastel  dignity 
which  make  \js  realize  how  great  the 
screen's  gain  has  been  all  these  years,  to 
our  loss/ 

No  announcement  has  been  made  of  Miss 
Gish's  possible  return  to  the  films.  The  two 
portraits  on  this  page  show  Miss  Gish  as 
Helena  in  "Uncle  Vanya." 


LILLIAN 

GISH 


Turns  to  the 


FOOTLIGHTS 


Photograph  by  Elmer  Fryer 


caught  !Se%ae9ofDH0or;vyCoehnewhoen  ^  "t^T**  Va'er9°'  d°nCed  at  Tait'S  ,n  S°n  FrancisC°-    Her  loveliness 
caught         eye  of  Harry  Cohn,  who  s.gned  her  for  the  movies.     Dorothy,  half  English  half  Italian,  was  the  daughter 

ot  a  musician  father  and  an  opera  singer  mother. 


66 


Photograph  by  William  A.  Fraker 

Dorothy  Revier's  face  was  famous  to  thousands  of  movie  fans  who  never  knew  her  name.        She  played  in  small  pro- 
ductions from  Poverty  Row— and  her  publicity  was  practically  infinitesimal. 

Up  From  Poverty  Row 

For  Two  Years  Dorothy  Revier  was  a  Hollywood  Star,  Without 
Moviedom  Knowing  Much  About  It 

By  Dick  Hyland 


THIS  story  probably  has  a  proper  opening,  but  I 
am  not  going  to  bother  about  where  it  is.  The 
story  in  itself  is  enough. 

It  concerns  Dorothy  Revier,  the  former  Queen 
of  Poverty  Row.  The  girl  whose  face  is  so  much  better 
known  than  her  name. 

Some  years  ago,  when  I  was  a  freshman  in  college,  a 
group  of  Stanfordites  trekked  regularly  to  San  Fran- 
cisco. Many  sons  of  the  Stanford  Red  did  that.  But 
not  for  the  same  reason.  They,  poor  youths,  did  not 
know  about  Dorothy  Revier. 

We  went  to  Tail's  Cafe,  which  was  just  about  the 
snootiest  place  in  the  city  by  the  Golden  Gate,  and,  for 
that  reason,  perhaps  a  bit  off  the  beaten  path  of  the  col- 
legiate. It  used  to  mean — to  some  of  us — saving  those 
nickels  and  dimes  rather  carefully. 

A  T  certain  times  during  the  evening  the  lights  were 
•**  dimmed,  a  spotlight  thrown  upon  the  dance  floor, 
and  into  that  circle  of  light  would  float  a  vision.     No 


less.  Full  head  of  hair  settling  softly  about  her  shoul- 
ders, a  form  that  would  make  a  sculptor's  hands  itch  to 
get  at  his  tools,  features  which  bore  the  classic  stamp 
of  Old  Italy.  A  gliding  grace  that  convinced  you  she 
could  dance  upon  eggshells  without  cracking  them. 

That  was  Dorothy  Revier. 

She  worked  in  the  midst  of  beauty,  of  riches.  Every- 
thing was  fine  and  clean  and  leisurely.  Tait's  was  the 
highest-priced  place  in  San  Francisco,  and  no  one  went 
there  who  did  not  spend  money.  Money  was  something 
few — unless  they  were  like  we  were — ever  thought 
about.  Remember  that  background  a  few  paragraphs 
further  on  in  the  story. 

While  Dorothy  Revier  was  dancing  before  us  we 
were  silent.  But  in  between  times  we  talked  —  about 
her.  We  wondered  where  she  lived,  what  kind  of  a  girl 
she  was.  We  wondered  if  she  would  sit  with  us  if  we 
sent  her  a  note.  We  wondered  lots  of  things,  as  is  the 
habit  of  freshmen  when  looking  at  someone  like  Dorothy 
Revier.     Finally  we  met  her.     {Continued  on  page  130) 

67 


Buddy  Rogers  now  has  his  whole  family  with  him  in  Beverly  Hills.     His  father  sold  his  newspaper  property 

in  Olathe,  Kansas,  and  moved  westward  with  Mamma  Rogers  and  Buddy's  brother,  Bert.     Buddy  has  his 

family  installed  in  a  new  house  of  light  tan  stucco.     Above,  the  new  house  with  Buddy  in  front. 


At  the  left,  the  main  hallway  of  Buddy's  house. 
At  the  front  of  the  stairs  is  an  old  white,  red  and 
gray  Mexican  chest.  The  beams  of  the  redwood 
ceiling  are  covered  with  yellow  and  brown 
stencil  work  done  by  hand.  The  three  pictures 
on  the  walls  are  early  Spanish  prints.  An  old 
Mexican  drape  of  red  and  tan  hangs  from  the 
balcony.  The  floor  is  deep  red  title.  Walls  are 
of  rough  plaster,  finished  in  a  cream  color. 


SPECIAL     PHOTOGRAPHS 

FOR   NEW  MOVIE  BY 

DON  ENGLISH 


The  First  Published 
Pictures  of  Buddy 
Rogers'  New  Home 


The 

Kansas 
BOY 

Who  Made 

GOOD 


Comfort  is  the  keynote  of  the  living 
room  of  Buddy  Rogers.  The  rugs 
are  henna  and  brown  colored 
Persian.  The  armchair  by  the 
window  is  covered  with  a  heavy 
tapestry  in  tan  and  brown.  The 
overstuffed  set  in  the  room  is  cover- 
ed with  bright  green  triple  weight 
ribbed  silk.  An  ebony  grand  piano 
stands  near  a  massive  window  of 
light  orange  colored  glass.  A 
black  iron  and  ruby  red  glass  lamp 
hangs  in  the  middle  of  the  room. 
The  only  pictures  are  etchings. 


At  the  left,  Buddy's  bed- 
room, featuring  light  cream 
walls  and  a  tan  Chinese  rug. 
The  bed  has  no  footboard 
and  a  spread  of  cream  lace 
over  tan  silk  covers  the  foot. 
The  drapes  are  light  orange 
tan  brocaded  silk.  The  big 
armchair  is  covered  with 
red  leather.  The  table  and 
chest  are  made  of  walnut. 


69 


The    Home    that   Youth    and   a    Saxophone    Built 


Above,  the  reunited  Rogers  family: 
Buddy,  Mamma  Rogers,  Papa  Rogers 
and  Bert  Rogers.  At  the  left,  the 
Chinese  dining  room.  The  rug  is  a 
red,  blue  and  black  Persian.  The 
window  drapes  are  henna,  pale  blue 
and  yellow  figured  chintz.  The  table 
is  of  black  walnut.  The  chairs,  bench- 
es, tea  table  and  stools  in  the  room  are 
of  walnut,  figured  with  hand  carved 
poppies.  The  walls  are  a  pale 
yellow  gold  and  the  ceiling  is  stenciled 
in  brown  and  gold. 


At  the  right  is  young  Bert  Rogers' 
room,  adorned  with  Indian  rugs, 
baskets  and  curios.  The  bed  is  of 
light  and  dark  brown  walnut.  The 
bedspread  is  of  black,  brown,  brick 
red  and  gray  dyed  linen.  The  lamp 
is  of  gilt  covered  wood  with  a  yellow 
ribbed  parchment  shade.  The 
entire  room  is  done  in  bright  colors 
typical  of  the  early  Spanish   west. 


70 


ROMANCE 


Here  are  the  first  published  shots  from  Greta  Garbo's 
newest  picture,  "Romance,"  based  upon  Edward 
Sheldon's  romantic  drama  in  which  Doris  Keane 
starred  for  two  seasons  in  New  York  and  for  a 
thousand  nights  in  London.  The  play  is  built  around 
the  concert  triumph  of  an  Italian  singer,  Mme.  Rita 
Cavallini,  at  the  Academy  of  Music  in  New  York  in 
the  late  '60's.  One  of  the  big  scenes  shows  the 
Golden  Nightingale  being  drawn  by  her  admirers 
in  a  carriage  down  Fifth  Avenue  to  her  hotel,  the 
old  Brevoort.  Much  of  the  action  of  "Romance" 
takes  place  at  No.  58  Fifth  Avenue,  just  across  from 
the  editorial  offices  of  New  Movie.  Lewis  Stone  ap- 
pears opposite  Miss  Garbo  as  Cornelius  Van  Tuyl,  a 
wealthy  banker  of  the  day  and  Mme.  Cavallini's 
patron.  A  newcomer,  Gavin  Gordon,  is  seen  as  the 
young  rector,  Thomas  Armstrong. 


The  fortunate  bride  who  discovers  that  her  mother's 
bridal  gown  and  veil  will  create  a  picturesque 
costume  for  her  journey  to  the  altar,  is  illustrated 
by  June  Collyer  at  the  left.  (This  gown  is  actually 
the  wedding  gown  of  Mrs.  Heermance,  June's 
mother.)  Miss  Collyer  wears,  with  intriguing  results, 
the  hand-made  lace  gown  worn  by  her  mother  in 
the  early  part  of  fhis  century.  The  fitted  lines  of 
the  gown  comply  with  the  modes  of  the  moment. 
Miss  Collyer  adds  a  tulle  and  lace  veil,  caught  in 
an  old-fashioned  manner  with  orange-blossoms 
well  off  her  forehead.  Elbow  length  gloves  are 
worn  and  in  place  of  a  bouquet  she  elects  to  carry 
a  beautiful  mother  of  pearl  prayer  book. 


The  midsummer  bride  might  prefer  the  romance 
of  a  garden  wedding.  Virginia  Bruce  at  the  right 
illustrates  the  proper  costume  for  such  an  effect. 
A  youthful  frock  of  pale  green  net  is  created  with 
a  high  waist-line,  cap  sleeves  and  a  semi-bouffant 
skirt.  An  ofF-the-face  hat  of  the  same  net  is 
stitched  into  chic  contours.  An  arm  bouquet  of 
yellow  roses  is  carried,  and  a  single  strand  of 
pearls  is  worn.  Her  slippers  are  dyed  to  match 
the  hue  of  the  frock. 


72 


HERE 

COMES 

the 

BRIDE 


For  the  very  youthful  bride  Mary  Brian  offers  a  likely 
combination  of  souffle,  lace  and  apple  blossoms.  The 
frock,  which  is  delightfully  jeune  fille,  is  a  piece  of  delicate 
workmanship,  merging  silken  lace  and  cream  souffle,  into 
graceful  lines.  The  veil  is  a  shower  of  souffle,  utilizing  a 
band  of  cream  satin  to  form  half  of  the  cap  that  fits  snugly 
over  the  bride's  hair.  Clusters  of  apple  blossoms  that 
point  outward  and  brush  the  cheek  take  the  place  of  the 
usual  orange  blossoms.  A  bouquet  of  apple  blossoms 
caught  with  cascading  ribbons  is  carried.  The  bride  adds 
a  triple  strand  of  pearls  to  her  costume. 

When  time  is  short  and  the  wedding  takes  place  in  the 
magistrate's  office  and  the  next  train  or  boat  is  caught  for 
the  honeymoon  days,  Nancy  Carroll,  Paramount  player, 
offers  several  chic  suggestions.  A  slim  tailleur  in  bright 
blue  tweed  is  worn.  The  coat  is  a  belted  affair  and  the 
skirt  is  slightly  circular.  A  jaunty  blouse  of  egg-shell  satin, 
a  semi-beret  hat  in  blue  belting,  a  navy  suede  envelope 
bag  and  doeskin  gloves  are  also  worn. 

73 


Even  a  bride  may  elect  a 
sophisticated  mood  for  her 
bridal  robes  this  season.  Kay 
Francis,  upper  left,  suggests  a 
striking  manner  of  wearing  a 
tulle  veil.  The  tulle  is  caught 
over  the  head,  covering  the 
forehead  in  a  snug  cap  effect. 
A  second  veil  is  caught  under 
the  chin,  and  crushed  to  meet 
the  sides  of  the  cap,  thus  cover- 
ing the  bride  in  a  cloud  of 
misty  tulle.  The  gown,  which  is 
just  discernible  beneath  the 
folds  of  the  veil,  is  created  in 
ivory  chiffon,  a  fitted  bodice 
and  a  trailing  skirt  of  sunburst 
pleating.  Shoulder  length  ivory 
suede  gloves  are  worn  and 
Miss  Francis  carries  a  sheath 
of  Easter   lilies. 


A  1930  mode  for  brides  is 
introduced  by  Jean  Arthur,  at 
the  upper  right.  Her  bridal 
costume  is  created  in  steel  blue 
with  extremely  chic  effects. 
The  gown  is  an  intricately  cut 
affair  of  sheer  blue  velvet  that 
falls  from  a  high  waist-line  to 
a  circular  skirt  and  three-yard 
train.  The  unadorned  tulle 
veil  is  also  in  blue,  and  is  caught 
over  the  head  in  cap  fashion 
without  benefit  of  flowers  or 
jewels.  Miss  Arthur  adds 
shoulder  length  white  suede 
gloves,  pearls  and  an  armful  of 
calia  lilies  to thecool  blue  back- 
ground of  her  bridal  costume. 

For  the  second  marriage  Lillian 
Roth  offers  modish  hints.  The 
costume  for  the  second  cere- 
mony should  never  include  a 
trace  of  the  first  bridal  robes. 
Extreme  chic  and  dignity  are 
the  qualities  to  attain  for. such 
an  occasion.  Miss  Roth  wears 
a  softly  draped  frock  of  flower- 
ed chiffon,  utilizing  such  shades 
as  dusty  rose,  cornflower  blue 
and  deep  yellow.  A  large 
horsehair  hat  of  dull  rose  is 
worn  in  the  new  off-the-face- 
manner.  A  corsage  of  yellow 
orchids  and  lilies  of  the  valley 
is  worn  at  the  waist. 


74 


MARILYN  MILLER 


75 


At  the  right,  Lincoln's 
famous  debate  with 
Stephen  A.  Douglas,  as 
pictured  in  Griffith's 
new  screen  life  of  the 
famous  President. 
E.  Allen  Warren  plays 
Douglas.  The  Griffith 
cast  includes  Helen 
Freeman  as  Lincoln's 
mother,  Una  Merkel  as 
Anne  Rutledge,  Kay 
Hammond  as  Mrs. 
Lincoln,  and  Hobart 
Bosworth  as  General 
Robert  E.  Lee.  Ian  Keith 
is  said  to  give  a  vivid 
performance  of  the  as- 
sassin, J.  Wilkes  Booth. 


ABRAHAM 

LINCOLN 


David  Wark  Griffith's  Filming  of 

Life  of  the  Great   Emancipator 

Is  Completed 


It  was  inevitable  that  Griffith  eventually  would 
film  the  life  of  the  immortal  Lincoln.  Remem- 
ber how  graphically  he  touched  upon  the  life 
and  martyrdom  of  the  great  President  in  "The 
Birth  of  a  Nation"?  The  assassination  of  Lincoln, 
as  pictured  in  that  screen  classic,  was  an  un- 
forgettable film  moment.  At  the  left,  Walter 
Huston,   the   actor,   as   the   younger   Lincoln. 


76 


Above,  Lincoln  in  session  with  his  War  Cabinet,  including 
Secretary  of  the  Navy  Gideon  Wells,  Secretary  of  War 
Stanton  and  Secretary  ot  State  Seward.  At  the  right, 
Lincoln  and  his  wife  in  the  box  of  Ford's  Theater, 
in  Washington,  on  the  night  of  Good  Friday,  April  14, 
1865,  a  few  moments  before  the  assassination.  As  if 
sensing  the  ominous  presence  of  death,  Lincoln  has  just 
drawn  his  scarf  tightly  around  his  shoulders.  Below,  a 
few  seconds  after  Booth  had  shot  the  President,  jumped 
from  the  box  and  escaped  across  the  stage.  Panic 
reigns  as  Laura  Keene,  the  star,  tells  the  startled  audi- 
ence of  the  tragedy.  Lincoln  was  carried  across  the 
street  to  Peterson's  lodging  house,  where  he  died  some 
hours  later  in  a  dingy  little  bedroom. 


DOROTHY   JORDAN 


78 


BELLES 
of  the 

BEACHES 


Joan  Marsh  has  been  called  the 
prettiest  girl  on  the  Santa  Monica 
beach.  That's  a  high  compliment, 
for  the  beaches  near  Hollywood 
are  crowded  with  the  most  beauti- 
ful girls  in  the  world.  The  picture 
at  the  right  was  made  at  the 
Santa  Monica  Swimming  Club. 
Miss  Marsh  is  wearing  a  one-piece 
backless  bath  suit  designed  for 
comfort  as  well  as  beauty.  With 
it  she  uses  a  very  tailored  bath 
coat  of  green  jersey  to  match  her 
bathing  suit. 

Miss  Marsh  is  with  Universal  and 
it  has  been  rumored  that  Charlie 
Chaplin  might  borrow  her  to  play 
the  leading  role  in  his  next  screen 
comedy. 


79 


MOVIE 

BOUDOIRS 


III.     JOAN  CRAWFORD 


The  bedroom  of  Joan  Crawford  (Mrs. 
Doug  Fairbanks,  Jr.)  is  remarkable  for 
the  supreme  simplicity  of  its  furnishings 
and  the  spaciousness  of  its  arrange- 
ments. The  walls  and  ceilings  are  of 
cream-colored  plaster.  The  wood- 
work is  of  a  darker  cream.  The  floor  is 
carpeted  in  dark  green  velvet,  broken 
only  by  a  fine  hook  rug  in  apple 
green,  yellow  and  black.  The  bed 
is  an  antique  mahogany  four  poster  in 
spool  design.  A  light  note  is  given  by 
the  ruffled  canopy  of  cream-colored 
net  and  the  bedspread  of  ecru  lace 
over  cream-colored  taffeta.  Joan,  by 
the  way,  is  wearing  a  suit  of  black 
satin  pajamas  with  a  fine  white  satin 
blouse,  her  favorite  costume  for  home 
wear. 


Note  the  spaciousness  of  Miss  Craw- 
ford's bedroom  and  how  the  furriiture 
centers  around  the  bed.  The  window 
draperies  and  the  upholstery  of  the 
big  armchair  are  glazed  chinz,  with 
an  apple-green  background  arid  a 
design  of  many  colors,  in  which  yellow, 
red,  orange  and  black  predominate. 
The  chest  of  drawers,  shown  above, 
is  of  mahogany,  an  antique  piece  of 
simple  design.  On  it  Joan  keeps  her 
favorite  picture  of  her  husband  and  a 
basket  of  pale  yellow  roses,  her  fa- 
vorite flowers.  The  chaise  lorlgue, 
shown  on  the  page  opposite,  is  done 
in  glazed  chintz  of  a  different  design 
from  the  armchairs.  This  has  a  green 
background. 


At  the  right,  Joan  is  shown  at  her 
dressing  table.  This  is  draped  in  the 
same  chintz  used  for  the  window  cur- 
tains. Twin  lamps,  originally  antique 
pewter  oil  lamps,  wired  and  with 
parchment  shades  of  deep  cream,  are 
placed  at  each  end.  The  scarf  is  of 
cream-colored  handmade  lace.  Other- 
wise, the  dressing  table  is  given  over 
to  Joan's  collection  of  perfume.  She 
has  every  known  kind  of  perfume  and 
a   rare   collection   of  bizarre  bottles. 


82 


The 

HEART 

of 

GRETA 
GAR  BO 

How  the  Tragic  Plight 
of  Her  Leading  Man 
Touched  the  Sympa- 
thies of  the  Star  Who 
Walks  Alone 


By  ADELA  ROGERS 
ST.  JOHNS 


THIS  is  a  story  about  Greta  Garbo. 
The  woman  who  walks  alone.     The  mysterious 
hermit  who  never  enters  into  the  life  of  Holly- 
wood.   The  girl  who  is  known  to  no  one  and  whom 
millions  desire  to  know. 

It  is  a  revelation  of  the  real  Garbo  which  she  herself 
would  never  make,  a  searchlight  turned  upon  her  soul. 
When  you  have  read  it  perhaps  you  will  understand, 
as  I  did,  a  side  of  Garbo's  character  which  has  not 
before  been  revealed.  For  it  isn't  a  cold  heart  which 
is  hidden  behind  her  strange  silences  and  iron  reserve, 
but  something  very  different. 

IT  begins  with  a  boy  born  and  raised  in  the  mountains 
of  the  South. 

Until  he  was  nineteen  this  hill-billy  had  never  seen 
a  motion  picture.  His  world  had  been  bound  by  the 
hills  of  Kentucky,  inhabited  only  by  the  mountaineers, 
who  are  a  people  unto  themselves.  Stern,  silent,  illiter- 
ate people,  inured  to  poverty  and  loneliness. 

Then  through  the  medium  of  the  screen  the  world 
unfolded  before  him — the  far  places  of  the  earth  and 
sea — the  glories  of  ancient  times — the  beauty  and  drama 
of  life  itself. 

Motion  pictures  created  for  him  a  new  universe,  fresh 
from  the  hands  of  the  gods,  new,  amazing,  wonderful. 
He  loved  them  and  sought  them  whenever  he  might. 

One  day,  in  a  newspaper  some  traveler  had  cast  by 
the  wayside,  he  saw  an  advertisement.  A  firm  in 
Chicago  was  looking  for  actors  to  play  before  the 
camera  and  they  mentioned  the  enormous  salaries  paid 


Gavin  Gordon  was  a  moun- 
taineer from  the  hills  of 
Kentucky.  He  came  to  Holly- 
wood drawn  by  one  dream 
— the  fantastic  hope  that 
he  might  act  with  Greta 
Garbo  one  day. 


to  stars,  told  in  glowing  terms  of  the  unknowns  who 
had  arisen  to  great  heights. 

So  Gavin  Gordon  left  the  mountains  of  the  South 
and  went  to  Chicago,  wearing  his  boots,  carrying  his 
carpet  bag,  silent  before  the  many  strange  things  that 
he  saw.  With  his  slouch  hat  in  his  hand,  he  stood 
before  the  desk  of  the  man  who  had  written  the 
advertisement  and  in  the  deep,  pleasant  drawl  of  his 
people,  he  said,  "Air  you  the  man  that  wrote  in  the 
paper  fer  movie  actors?  I  aim  to  be  one  naow  and 
I  guess  I  don't  mind  startin'  any  minit.  How  much 
did  you  say  a  man  gits  for  thet?" 

But  it  turned  out  that  they  didn't  want  to  pay 
anybody.  They  wanted  to  be  paid  for  training  as- 
pirants  in  the  art  of  motion-picture   acting.      Gavin 

83 


Gordon  listened  in  stern  silence,  fingered  the  nine  dol- 
lars in  his  pocket  and  walked  out  without  another  word. 
That  afternoon  he  got  a  job  in  the  stockyards — for  he 
was  hard  and  strong  from  working  among  the  timbers. 
But  his  purpose  was  not  altered.  Others  had  become 
part  of  that  glamorous  life,  others  acted  in  motion 
pictures.     Some  day  he  would  do  it,  too. 

CILENTLY,  persistently,  he  pursued  his  goal.     New 

^    York,  he  discovered,  was  the  nearest  place  to  go, 

the  nearest  place  where 

pictures  were  made.    So, 

when      he      had     saved 

enough  money,  he  went 

to  New  York. 

And  there  he  had  his 
first  bit  of  luck.  An 
agency  to  which  he  ap- 
plied listened  to  his  deep 
drawl  and  told  him  they 
could  get  him  a  small 
part  on  the  stage  be- 
cause of  it.    He  took  it. 

But  he  didn't  stay  in  New  York  very  long.  For  one 
afternoon,  in  a  great  theater  on  Broadway,  he  looked 
upon  the  silver  sheet  and  saw  a  woman. 

Women  had  never  meant  anything  in  his  life.  He 
knew  nothing  about  women.  He  had  been  too  busy. 
The  loneliness  of  the  big  cities  had  been  harder  to 
bear  than  the  loneliness  of  the  hills,  but  the  only  girls 
he  admired,  those  who  drove  along  Michigan  Boulevard 
and  Fifth  Avenue,  were  beyond  his  reach.  They  alone 
approximated  the  visions  he  had  seen  on  the  screen. 

This  woman  was  perfect.  All 
other  women  became  nothing. 
Here,  though  he  did  not  so 
phrase   it   to   himself,   was   the 


"It  may  be  that  Garbo  had  heard  all  the 
things  Gavin  Gordon  said  in  his  delirium, 
may  have  looked  into  the  boy's  heart  and 
been  a  little  glad  to  be  the  ideal  of  such  a 
man.     No  one  will  ever  know." 


Greta  Garbo  and  Gavin  Gordon  as  you 
will  see  them  in  "Romance." 


Helen    of    Troy    who    comes    once    to    every    man — the 
acme  of  feminine  loveliness. 
Her  name  was  Greta  Garbo. 

(^[.AVIN  GORDON  went  to  Hollywood,  because  he 
^-*  found  out  that  Garbo  lived  and  made  pictures  in 
that  distant  land  of  which  he  had  heard  so  much. 

The  tall,  tanned,  handsome  young  man  who  got  off  the 
Santa  Fe  train  in  Los  Angeles  was  very  different  from 
the  boy  who  had  made  his  way  along  the  crowded  streets 

of     Chicago     that     first 
day.     He  had  discarded 
boots,    slouch   hat.      Al- 
ready he  had  begun  to 
assume     some     of     the 
ways  and  habits  of  his 
idols     of     the     screen. 
Quick  to  learn,  terribly 
observant,  he  had  copied 
as   far  as  he  was   able. 
The  vivid  charm  of  John 
Gilbert,  the  nonchalance 
of    Menjou,    the    manli- 
ness of  Dick  Barthelmess  had  appealed  to  him  most. 
All  these  he  had  watched — and  for  three  years  con- 
tinued to  watch — and  had  taken  from  them  such  things 
as  he  felt  he  could  use. 

This  newcomer  had  for  his  weapons  in  his  attack 
upon  the  closed  corporation  of  Hollywood  a  delightful 
voice,  a  certain  shy  reserve,  and  a  lean  face  full  of 
character. 

But  Hollywood  would  have  none  of  him.     For  two 

years  he  went  from  disappointment  to  disappointment, 

trod    the    well-worn    path    from 

studio  to  studio,  which  has  often 

enough  been  watered  with  tears. 

{Continued  on  page  106) 


The    New    FILMS    in    REVIEW 


By  FREDERICK  JAMES  SMITH 

JOURNEY'S  END— Tiffany 

Another  war  picture  in  the  midst  of  an  avalanche  of 
battle  dramas — but  one  of  the  very  best  of  them.  Based 
on  R.  F.  Sherriff's  splendid  study  of  British  officers 
under  the  devastating  shock  of  continuous  gunfire 
in  the  mud  of  a  Flanders  dugout.  It  is  superbly 
directed  by  a  stage  producer,  James  Whale.  It  is 
stunningly  acted,  particularly  by  Colin  Clive,  as 
Stanhope,  the  young  captain  who  drinks  to  steady 
his  nerves,  and  by  Ian  MacLaren,  as  the  gallant 
Osborne,  the  school-teacher  turned  killer.  Of  high 
emotional  effectiveness  and  tremendous  punch. 


PARAMOUNT  ON  PARADE— Paramount 

They  call  this  an  intimate  entertainment  rather  than 
a  revue.  Like  "The  Show  of  Shows"  and  M.-G.-M.'s 
"Hollywood  Revue,"  this  picture  is  a  series  of  special- 
ties contributed  by  the  company's  various  stars. 
Many  of  these  efforts  are  amateurish,  since  the  stars 
are  shunted  away  from  the  things  they  do  well. 
Actually  "Paramount  on  Parade"  would  be  pretty 
dull  without  the  jaunty  Maurice  Chevalier,  who  con- 
tributes brilliant  first-aid  three  or  four  times.  The 
best  bit,  in  fact,  is  "The  Birth  of  the  Apache,"  done 
by  M.  Chevalier  and  our  own  Evelyn  Brent. 

FREE  AND  EASY— M.-G.-M. 

Built  around  a  small-town  cutie  and  her  efforts  to  be  a 
movie  star.  She  goes  to  Hollywood  with  her  mother 
and  a  boob  manager  and  flops.  But  mama  gets  a 
job  and  Elmer  becomes  a  comedy  star.  Anita  Page 
is  the  blond  baby  who  fails.  Buster  Keaton  is  her 
manager  and  Trixie  Friganza  is  her  mother.  Keaton 
is  hilarious  and  the  comedy  moves  swiftly  in  and 
about  the  M.-G.-M.  Culver  City  studios,  with  back- 
stage glimpses  of  the  stars  and  directors.  This  al- 
ways has  fan  interest,  with  its  informal  disclosures 
of  stars  at  first  hand.  Keaton  has  nothing  to  fear 
from  the  talkies.    His  voice  is  excellent. 

REDEMPTION— M.-G.-M. 

Gloomy.  Because  of  its  story — and  because,  as  Jack 
Gilbert's  second  film,  it  shows  that  star  is  still  suffering 
from  serious  voice  difficulties.  Jack's  voice  is  nervous 
and  high  strung.  Still,  it  isn't  beyond  help.  This 
Tolstoy  drama  was  acted  by  John  Barrymore  some 
years  ago.  It  presents  the  triangle  of  the  man  who 
can't  adjust  himself  to  marriage;  the  woman  (Elea- 
nor Boardman)  who  loves  him;  and  the  man  (Conrad 
Nagel)  she  should  have  married.  These  three  never 
achieve  reality  or  humanness.  Better  is  Renee 
Adoree  as  a  passing  gypsy  light  o'  love.  Better  stay 
away  from  this  hefty  slice  of  cinematic  gloom. 

THE  DIVORCEE— M.-G.-M. 

Modern  life  through  the  eyes  of  cynicism.     Based  on 

Ursula  Parrott's  tawdry  but  popular  try  for  sensa- 
tionalism, "Ex-Wife."  What's  sauce  for  the  gander 
is  sauce  for  the  goose.  Equal  philandering  rights 
for  the  wife  and  the  husband.  It  works  out  disas- 
trously, of  course,  but  not  until  the  plot  has  moved 
through  a  panorama  of  night  clubs,  modernistic 
apartments,  swank  1930  revelry  and  lively  situations. 
Norma  Shearer  does  a  great  deal  to  make  the  story 
real  and  compelling.  Hers  is  a  striking  characteriza- 
tion. She  is  aided  by  Chester  Morris,  Conrad  Nagel 
and  Robert  Montgomery. 


ALL  YOU  WANT  TO  KNOW 


ALL  QUIET  ON  THE  WESTERN  FRONT 
Universal 

The  New  York  critics  raved  over  this  faithful 
visualization  of  Eemarque's  detailed  word  picture 
of  German  youth's  reaction  to  the  Great  War. 
It  is  remorseless  in  its  picturing — gruesome,  harrowing 
and  bloody.  You  see  whole  lines  of  oncoming  soldiers 
mowed  down  by  machine  guns.  The  whole  film  is 
done  to  the  accompaniment  of  shrieking  shells  and 
bursting  shrapnel,  a  vivid  panorama  of  Death  on 
parade.  It  is  ghastly  in  its  truth.  Does  the  public 
want  to  stomach  truth?  That  remains  to  be  seen. 
The  film  is  a  monumental  sermon  against  war  and 
its  futility.    It  tears  away  all  the  hypocrisy  and  bunk. 

LADIES  LOVE  BRUTES— Paramount 

Unless  George  Bancroft  quickly  recovers  his  voice,  this 
will  be  his  last  picture  for  some  time.  Here  he  plays  a 
builder  of  skyscraper  skeletons — the  master  mind 
behind  the  machine-gun  rattle  of  the  riveters.  He 
glories  in  his  work — until  he  falls  in  love  with  a 
beautiful  young  woman  of  wealth  and  background. 
Then  the  builder  tries  to  make  himself  over — to  the 
quick  disaster  of  everyone  within  reach.  Bancroft 
gives  a  fine  performance  of  the  two-fisted  remaker 
of  skylines  and  Mary  Astor  is  excellent  as  the  young 
woman  who  whirls  his  life  topsy-turvy.  This  is  not 
one  of  Bancroft's  best  films  but  it  has  a  lot  of  vigor. 

YOUNG    MAN    OF    MANHATTAN— Paramount 

A  story  of  newspaper  folk,  based  on  Katherine  Brush's 
best  seller.  The  marriage  of  a  famous  sport  writer 
and  the  young  woman  who  writes  the  movie  re- 
views— and  what  came  of  it.  The  sports  specialist 
can't  adjust  himself  to  marriage  and  the  girl  can't 
tolerate  his  weakness.  Back  of  the  drama  is  the 
pageant  of  sports,  swinging  from  the  first  Tunney- 
Dempsey  fight  to  great  football  battles  and  the 
Spring  training  of  the  big  baseball  teams.  Claudette 
Colbert  is  an  interesting  heroine  and  Norman  Fos- 
ter (her  husband  in  real  life)  is  good  as  the  sports 
specialist.    Charles  Ruggles  scores. 

THE  KING  OF  JAZZ— Universal 

A  disappointment — but  a  lavish  one.  An  over-produced 
revue.  Universal  called  in  Murray  Anderson,  a  foot- 
light  revue  producer,  and  let  him  run  riot  with  an 
unfamiliar  medium.  The  result  is  a  dull  melange 
of  tremendous  sets,  dancing  girls,  and  indifferent 
principals,  save  for  Paul  Whiteman,  who  registers. 
The  color  photography,  too,  is  bad,  keeping  events 
in  vague  semi-darkness.  Jeanette  Loff  looks  beauti- 
ful but  falls  down  vocally.  John  Boles  scores  briefly 
(with  "It  Happened  in  Monterey")  and  everyone  else 
is  buried  in  the  extravagance  of  scenery.  This  pic- 
ture cost  $2,000,000  to  make — and  is  miles  too  long. 

IN  GAY  MADRID— M.-G.-M. 

Ramon  Novarro's  skill  in  light  comedy  is  coming  to 
the  fore  in  the  talkies.  Until  the  audibles  appeared, 
Ramon  was  just  a  romantic  juvenile.  The  talkies  dis- 
closed not  only  an  agreeable  light  tenor,  but  a  sly 
and  adroit — even  whimsical — humor.  This  humor 
lifted  "Devil  May  Care"  out  of  the  costume  rut.  It 
gives  piquancy  to  Novarro's  present  vehicle.  Dorothy 
Jordan  is  again  Novarro's  leading  woman  and  she  is 
charming.  A  newcomer,  Lottice  Howell,  is  the  vamp. 
The  story:  a  romance  of  love  and  university  life  in 
old  Spain.  Novarro  sings  several  numbers  delight- 
fully, among  them  the  tender  "Into  My  Heart." 


86 


ABOUT  THE   NEW    PICTURES 


THE  SONG  OF  THE  FLAME— First  National 

It  seems  that  the  Russian  Reds  were  inspired  by  a 
theme  song  and  a  peasant  Joan  of  Arc  when  they  toppled 
the  Czar  from  his  throne.  That,  at  least,  is  the  plot  of 
"The  Song  of  the  Flame,"  which  was  an  operetta  of 
several  years  ago.  Here  the  Russian  Revolution  gets 
musical  comedy  treatment  and  everything  ends 
happily  for  everyone  but  Konstantin,  a  scoundrelly 
Red  leader  who  steals  for  personal  gain.  The  Reds 
shoot  him  in  the  midst  of  a  song,  which  is  hardly 
fair,  since  Noah  Beery,  as  the  crooked  Konstantin, 
steals  the  picture.  Bernice  Claire  and  Alexander 
Gray  are  the  principals. 

SHOW  GIRL  IN  HOLLYWOOD— First  National 

You  know  J.  P.  McEvoy,  frequent  NEW  MOVIE  con- 
tributor. You  know  his  crisp  humor.  You  probably 
know  Dixie  Dugan,  his  cabaret  cutie  who  storms  the 
portals  of  Hollywood.  If  you  haven't  read  her,  you 
saw  her  in  "Show  Girl."  This  Alice  White  sequel  is 
better.  There's  a  lot  of  picturesque  studio  atmos- 
phere, presenting  all  the  trials  and  tribulations  of  a 
newcomer  trying  to  get  a  film  break.  Miss  White 
grows  in  provocative  ability,  Jack  Mulhall  is  himself 
and  Blanche  Sweet  does  a  swell  bit  as  an  old  film 
favorite  forgotten  by  her  public.  Better  put  this  on 
your  list  of  must  pictures. 

MONTANA  MOON— M.-G.-M. 

Joan  Crawford  plays  the  spoiled  daughter  of  a  man 
who  owns  the  biggest  ranch  in  Montana.  In  a  reckless 
mood,  she  falls  in  love  with  and  marries  a  cowboy 
from  Texas.  Poppa  approves,  which  doesn't  help 
matters,  and  Joan  decides  to  go  her  own  wild  way  in 
New  York.  I  won't  tell  you  that  the  cowboy  gets  his 
bride  back — or  how.  You  probably  had  no  doubts, 
anyway.  Miss  Crawford  is  as  vital  as  the  unreason- 
able role  permits  and  John  Mack  Brown  is  the  up- 
standing Texas  lad.  Ricardo  Cortez  is  a  dangerous 
lad  hovering  around.  The  picture  has  a  song  hit  in 
"The  Moon  Is  Low." 

THE  CUCKOOS— RKO 

Built  from  a  musical  show,  "The  Ramblers,"  with 
Bert  Wheeler  and  Bob  Woolsey  (you  saw  them  in  the 
film  "Rio  Rita")  in  the  roles,  originally  done  on  the 
stage  by  Clark  and  McCullough  of  bankrupt  fortune- 
tellers in  Mexico.  This  is  an  irrational  musical  film 
full  of  the  most  elderly  hokum  and  not  over-funny  any- 
where. Wheeler  has  possibilities  as  a  screen  comic. 
The  film  shows  hurry  and  inexpertness  in  its  produc- 
tion, but  it  has  Dorothy  Lee,  who  possesses  real  at- 
tractiveness, and  two  good  musical  numbers, 
"Wherever  You  Are"  and  "Dancing  the  Devil  Away." 
This  is  a  so-so  musical  film. 

STRICTLY  MODERN— First  National 

This  was  once,  as  a  stage  play  by  Hubert  Henry 
Davies,  called  "Cousin  Kate."  The  story  of  a  sophisti- 
cated and  daring  novelist,  played  by  Dorothy 
Mackaill,  who  has  her  own  ideas  about  love.  These 
ideas  almost  cost  her  future  happiness.  A  slender 
high  comedy  has  been  taken  by  Director  William  A. 
Seiter  and  transformed  into  something  else  again, 
with  the  aid  of  exploding  cigars,  knockout  drops  and 
other  tricks.  Sidney  Blackmer  is  a  negative  lover, 
but  Miss  Mackaill  is  both  interesting  and  personable. 
This  star  needs  better  roles — and  no  mistake.  This 
one  is  just  passably  entertaining. 


The  New  Movie's 
Own  Cameraman 
Takes You  Through 
the  Big  Hollywood 
Motion  Picture 
Studios 


An  airplane  view  of 
the  First  National  Stu- 
dios at  Burbank,  Cali- 
fornia, near  Holly- 
wood. Here  you  see 
the  mammoth  new 
sound  stages,  the  gar- 
dens and  the  huge 
out-door  lots  used  for 
special  exterior  sets. 
This  is  one  of  the  best 
equipped  of  all  studio 
lots.  At  the  right,  a 
front  view  of  the  Main 
Administration  Build- 
ing, housing  the  studio 
executives. 


At  the  left,  the  ex- 
tras line  up  at  the 
end  of  the  day  to 
receive  their  pay 
checks.  This  is  the 
big  moment  of  an 
extra's  life.  Each  and 
every  one  of  these 
extras  has  a  definite 
belief  that  some  day 
he  will  be  a  star. 


88 


VISITS 

to  the 

FAMOUS 
STUDIOS 


Top,  looking  out  of  a  sound  stage  upon 
the  First  National  lot.  Only  privileged 
visitors  reach  a  sound  stage,  since  the 
slightest  noise  can  ruin  an  expensive 
scene.  An  unexpected  sneeze  costs 
somewhere  between  $200  and  $1,000, 
according  to  the  magnitude  of  the  scene. 


The  First  National  casting  office  is  shown 
at  the  left.  A  casting  assistant  is  looking 
over  the  screen  possibilities  of  the  young 
woman  at  the  top  of  the  steps.  These 
casting  offices  are  the  Heartbreak  Head- 
quarters of  Hollywood.  Until  you  fight 
your  way  past  their  guarded  portals  you 
can   never   get   a    chance    as   an   extra. 


89 


THE  FIRST  OF  A  SERIES  OF  PHOTOGRAPHIC  TOURS  OF 


WBtBEUBSlSS&SBtKBHi 


( 


First  National,  like  the  other 
big  studios,  maintains  a  perma- 
nent beauty  chorus.  These  girls 
appear  in  all  the  large  musical 
revues  now  so  popular  on  the 
screen.  J  ust  a  bove,  Carl 
McBride,  dance  director  for 
First  National,  is  rehearsing 
Billie  Dove  in  a  dancing  inter- 
lude of  "One  Night  at  Susie's." 


At  the  left,  a  story  conference. 
This  occurs  before  the  director 
starts  work  on  a  picture.  Here 
we  find  Director  William  A. 
Seiter,  Scenarist  Graham  Baker 
and  Executive  Hal  Wallis  sit- 
ting at  the  head  of  the  table 
while  "Mile.  Modiste"  is  dis- 
cussed. 


At  the  right,  the  First 
National  dining  room 
— and  a  darned  ex- 
clusive corner  of  it, 
too.  Here  the  stars  of 
"Spring  Is  Here"  are 
eating.  Look  closely 
and  you  will  see  Law- 
rence Gray,  Natalie 
Moorhead,  Gretchen 
Thomas,  Louise  Fazen- 
da,  Ford  Sterling, 
Bernice  Claire  and 
Frank  Albertson. 


90 


HOLLYWOOD'S  FAMOUS  MOTION  PICTURE  STUDIOS 


At  the  right,  a  production  in  the  making  at  First  National. 
Director  John  Francis  Dillon  is  directing  "The  Bride  of  the 
Regiment"  from  the  camera  platform,  which  rises  and 
lowers  at  command.   The  platform  carries  a  telephone,  too. 


Above,  the  wardrobe  department, 
where  the  gowns  of  the  stars  are  de- 
signed and  made.  Here,  too,  they 
work  out  Alice  White's  scanties,  so  im- 
portant to  every  feature  presenting 
this  popular  star. 


The  studio  drafting  room  is  shown  at 
the  left.  Here  the  sets — big  and  little 
— are  designed.  The  making  of  pic- 
tures is  an  elaborate  and  intricate 
business,  as  you  can  see  by  this  pho- 
tographic visit  to  the  First  National 
lot.  In  an  early  issue  New  MOVIE  will 
take  you  through  another  big  Holly- 
wood motion  picture  studio. 

91 


.&*» 


The  young  woman,  at  the  left,  with  the 
stuffed  dove?  Bebe  Daniels,  of  course. 
Bebe  as  she  was  when  she  played  op- 
posite Harold  Lloyd  in  his  early  "Lone- 
some Luke"  comedies.  In  those  days 
Bebe  was  a  lovely  foil  for  Harold's  pioneer 
comedy. 


X 


^ 


43ft 


At  the  right  is  one  of  the  most  interesting  pictures  ever 
published  by  NEW  MOVIE.  It  shows  Mary  Pickford  in  one 
of  her  very  first  D.  W.  Griffith  films,  "The  New  York  Hat," 
which  introduced  Lionel  Barrymore  to  the  screen.  The 
scenario  was  sent  to  the  old  Biograph  studio  by  a  16-year- 
old  California  girl  named  Anita  Loos.  Miss  Loos  grew  up 
to  be  a  famous  writer.  For  "The  New  York  Hat"  she 
received  the  large  sum  of  $15. 


The  pretty  bellhop  is  none 
other  than  Norma  Tal- 
madge.  Honest!  The 
scene  is  from  one  of  those 
early  two  reel  "Belinda" 
comedies.  Then  Miss  Tal- 
madge  lived  out  Ocean 
Avenue  way  in  Brooklyn 
with  her  mother  and  her 
kid  sisters,  Constance  and 
Natalie.  In  this  scene 
Van  Dyke  Brooke,  a  favor- 
ite character  actor  of  the 
day,  appears  with  Leo  De- 
laney,  who  plays  an  artist. 


W§fflj£8i&h 


92 


When 

SILENCE 


was 


GOLDEN 


Again  we  present  Gloria  Swanson 
in  her  Keystone-Mack  Sennett  days. 
The  scene  at  the  right  is  from 
"Teddy  at  the  Throttle,"  in  which 
Teddy,  the  famous  comedy  dog, 
was  featured.  Remember  Teddy? 
What  a  canine  personality  he  pos- 
sessed !  With  Miss  Swanson  in 
this  scene  is  Bobby  Vernon.  The 
background  is  a  locomotive,  as 
you've  probably  noted. 


Remember  the  days  of  Bill 
Hart,  whose  best  friend 
was  his  horse?  Here  is 
Bill  bidding  a  tearful  good- 
bye to  his  pal  in  one  of  his 
early  Triangle  melodramas. 
Those  were  the  days  when 
Hart  played  bad  men  who 
reformed  under  the  uplift- 
ing influence  of  the  beau- 
tiful blonde  from  the  East. 


93 


THE 

BARRYMORE 

HEIR 


The  youngest  of  the  house  of  Barrymore,  a  baby  girl,  poses  for  her  very  first 
picture.  Later,  doubtless,  Miss  Barrymore  will  be  a  screen  star.  Proud  Papa  John 
Barrymore  and  equally  Proud  Mama  Dolores  Costello  look  on  approvingly.  Miss 
Barrymore's  name  has  not  been  selected  definitely.  It  may  be  Blythe  Barrymore, 
using  the  Barrymore  family  name. 


94 


HOLLYWOOD 


Unveils  Its 

Memoria 


to 


VALENTINO 


IF  Rudolph  Valentino  needed  anything  to  make  him 
immortal,    anything  to    remind   those   who   follow 
that  he  once  lived — and  died- — that  something  was 
given  him  upon  the  day  that  would  have  been  his 
thirty-fourth  birthday. 

Molded  in  imperishable  bronze,  plated  with  shining 
gold,  a  statue  to  his  memory  and  honor  was  unveiled  in 
De  Longpre  Park,  in  Rudy's  own  Hollywood,  on  May  5th. 
The  memorial  cost  over  ten  thousand  dollars.  It  was 
paid  for  by  humble  and  sincere  offerings  of  nickels  and 
dimes  from  thousands  of  his  fans  who  sent  their  mites 
from  the  four  corners  of  the  earth. 

TT  is  called  "Aspiration." 

A  "The  statue,  thus  named,  will  be  a  perpetual  sym- 
bol of  his  industry  and  high  ideals  which  he  endeavored 
to  carry  out  during  the  days  of  his  life,"  said  Alberto 
Mellini  Ponce  de  Leon,  vice  consul  in  Los  Angeles  for 
the  country  which  gave  Rudolph  Valentino  birth — Italy. 

Fifteen  hundred  people  bowed  their  heads  and  thought 
back  to  Rudy.  Thought  perhaps  of  the  beauty  and  ro- 
mance he  brought  into  the  world  through  the  medium 
of  the  silver  screen. 

For  several  days  before  the  unveiling,  rain  had  wetted 
the  park.     The  morning  of  the  day  dawned  gray  and 


Molded     in     bronze    and    plated    in   gold,  the   new 

Valentino  Memorial,  unveiled  on  May  5th,  stands  in 

De  Longpre  Park,  a  perpetual  symbol  of  the  spirit  that 

carried  Rudy  to  the  heart  of  the  world. 


bleak.  Those  who  gathered  at  the  statue  did  so  under 
lowering  and  threatening  clouds.  It  seemed  as  though 
the  very  heavens  felt  sad. 

DOLORES  DEL  RIO  pulled  the  cord  which  dropped 
the  velvet  wrap  from  around  the  memorial  and — 
call  it  coincidence  if  you  will — the  clouds  broke  and  a 
shaft  of  pure  sunshine  struck  the  statue.  It  lit  it  up 
until  it  was  a  golden,  radiant  torch. 

Tiptoe,  face  uplifted,  it  stood  straining  as  though  to 
lift  itself  by  the  very  power  of  thought  and  desire  to  a 
higher  level  and  better  things. 

George    Ullman,    who    was    Rudy's   closest   and   best 
friend,  stared  straight  ahead.    Tears  ran  down  his  face. 
His  lips  moved.     "I'm  glad  for  you,  Rudy,"  they  said. 
"You  will  never  be  forgotten." 
Nor  will  he. 

Those  who  love  the  mem- 
ory of  Valentino  can  take  fur- 
ther pride  in  the  fact  that  this 
memorial  to  him  is  the  only 
one  to  a  motion  picture  actor 
in  any  public  park  in  the 
United  States.  That,  at  least, 
shows  what  Los  Angeles  and 
Hollywood  think  of  the  de- 
parted boy  who  brought  them 
so  much  credit  during  his  life. 


The  Valentino  Memorial 
is  the  work  of  Roger 
Noble  Burnham,  formerly 
of  Boston  and  now  of 
Hollywood.  It  was  paid 
for  by  the  nickels  and 
dimes  of  Valentino's 
thousands  of  fans. 


95 


Making  a  sound  film  out  in  the  open.     On  location  with  First  National  company  making  "Under  Western  Skies" 
near  Lone  Pine,  Arizona.     Note  the  huge  microphone  horn  in  the  foreground. 

Gossip  of  the  Studios 


They  left  convinced  that  Hollywood  is 
all  they  heard  it  was. 

WELL,  William  Fox  never  forgets. 
He  sent  Sol  Wurtzel,  who  has 
worked  for  him  in  the  Fox  studios  for 
years,  a  check  for  ONE  HALF  MIL- 
LION DOLLARS.  "In  partial  appre- 
ciation, Sol,"  the  note  accompanying 
the  check  is  reported  to  have  read,  "of 
nineteen  years  of  service  you  have 
given  me." 

A  new  game  is  much  in  vogue  among 
the  film  colony  just  now.  It  is  called 
"District  Attorney"  and  was  invented 
by  Carey  Wilson.  One  person  invents 
a  murder  mystery.  All  the  others  in 
the  group  are  district  attorneys.  They 
may  call  for  and  examine  any  witness 
— all  witnesses  being  played  by  the  one 
who  invented  the  mystery.  And  all 
witnesses,  except  the  guilty  party,  must 
tell  the  truth.  Jack  Gilbert  and  Eddie 
Lowe  are  champions  of  this  new  pas- 
time. 

One  night  an  inventor  began  the 
story  by  saying,  "Mr.  So-and-So  (a 
well-known  producer)  was  found  mur- 
dered in  his  office."  Everyone  present 
arose  and  said,  "I  did  it." 

MR.   AND    MRS.   WALTER   MOR- 
OSCO     (Corinne     Griffith)     have 
moved  into  their  new  home  at  Malibu 

96 


(Continued  from  page  23) 

Beach  and  are  entertaining  on  Sundays 
with  tennis  and  swimming  parties. 
The  other  evening  they  had  a  delightful 
little  dinner,  among  the  guests  Mr.  and 
Mrs.  Howard  Hawks,  Mr.  and  Mrs. 
Jules  Glaenzer,  Mr.  and  Mrs.  George 
Archainbaud,  Mrs.  Douglas  MacLean, 
and  Mr.  and  Mrs.  Abraham  Lehr. 

UNIVERSAL  is  going  to  road-show 
"The  King  of  Jazz,"  Paul  White- 
man's  picture,  in  tents.  The  reason 
being  that  many  towns  and  hamlets  in 
the  West  and  Southwest  have  no  equip- 
ment for  sound.  Forty  of  these  tents 
will  be  used,  each  seating  5,000  per- 
sons. 

A  Hollywood  writer  was  in  England. 
He  saw  a  play  which  was  not  a  success. 
He  bought  it  for  250  dollars.  Came 
home  and  made  it  into  a  scenario. 
Then  sold  it  to  RKO  for  $22,500  cash 
money. 

WITH  the  coming  of  summer,  Bebe 
Daniels  has  reopened  her  beach 
home  and  is  giving  more  of  her  de- 
lightful Sunday  luncheons,  with  swim- 
ming and  bridge  attractions. 

One  Sunday  not  long  ago  about  fifty 
people  came  for  the  day,  and  Bebe 
served  hot  tamales  and  baked  ham  in 
the  pretty  seaside  living  room. 

Constance  Talmadge,  who  is  so  sel- 


dom seen  abroad  since  her  marriage  to 
Townsend  Netcher,  was  there,  in  a 
simple  white  skirt  and  sweater,  with  a 
white  silk  beret  over  her  bright  hair. 
Lila  Lee  looked  unusually  well  in  a 
black  and  white  sport  ensemble,  with  a 
tight  little  black  velvet  cap,  held  by  a 
bow  at  the  back  of  her  neck.  Louis 
Wolheim  was  playing  bridge  with 
Bebe  and  Mr.  and  Mrs.  Hal  Roach — 
Mrs.  Roach  all  in  silvery  white.  Mr. 
and  Mrs.  Skeets  Gallagher  were  among 
those  present.  And  Mrs.  Gallagher 
whispered  the  interesting  news  that 
there  is  to  be  a  new  Spring  arrival  in 
that  family.  Pauline  has  become  very 
popular  with  the  film  colony  since  her 
arrival  here.  And,  of  course,  Ben 
Lyon  was  there,  very  happy  over  the 
wonderful  reports  he  has  been  receiv- 
ing about  "Hell's  Angels." 

M-G-M  sent  a  company  to  Africa 
to  film  "Trader  Horn,"  and  some 
of  the  players  went  to  bed  after  the 
company  returned  three  months  ago 
and  have  not  gotten  up  yet.  They  are 
still  sick  and  fever  stricken  and,  in  the 
meantime,  the  picture  is  held  up.  Not 
daunted  a  bit  by  this  experience,  Uni- 
versal is  sending  a  company  into  the 
middle  of  Borneo  to  do  a  picture 
called  "Orang."  Only  one  white  man 
has  even  been  in  the  location  this  com- 
(Continued  on  page  98) 


The  Hollywood   Boulevardier 


(Continued  from  page  55) 


straight.  He  is  the  most  stimulating, 
energizing  male   personality   I've   ever 

encountered  in  Hollywood. 

*  *       * 

rHIS  boy  Gary  Cooper  appears  to  me 
to  have  more  sanity  than  any  of 
the  younger  Hollywood  generation.  I 
have  yet  to  hear  of  him  twittering  in  a 
Hollywood  salon.  And  he  makes  the 
only  sound  observation  I've  heard  from 
a  young  actor:  "Hollywood's  a  terrible 
place.  Nobody  is  normal.  They  have 
such  a  vicious  attitude  toward  one  an- 
other. Nobody  has  any  real  friends." 
This  will  bring  squawks  from  the 
lounge  lizzies,  but  it  is  the  truth.  Alice 
Terry  said  as  much  and  retired  to  hap- 
piness on  the  French  Riviera.  Gary  re- 
tires to  one  of  his  ranches  as  soon  as  he 
finishes  work.  I  retire  to  my  hacienda 
near  Santa  Barbara.  When  I  feel  in 
the  mood  for  teasing  vipers  I  shall  re- 
tire to  the  jungles  of  Africa.  There 
they  are  out-and-out  vipers. 

*  *       # 

DISAPPOINTED  in  many  Holly- 
wood friends  I  am  compensated 
in  one,  Bull  Montana,  who  vows  he  will 
shove  anyone  in  the  face  at  a  prear- 
ranged signal  from  me.  Bull  is  my  liv- 
ing proof  that  brains  are  denied  beauty 
and  vice  versa.  I  herewith  reproduce  a 
letter  from  him  which  has  been  trans- 
lated by  Sanskrit  scholars  after  many 
laborious  nights: 

"Dear  Pal  Herb:  Well,  kid,  here  I  am 
in  Chicago.  Was  out  to  Cicero  last  night 
with  all  gunmen.  Give  me  a  banket.  All 
gunmen.  Banket  all  gunmen.  Want 
see  the  Bull.  Well,  Kid  Herb,  all  gun- 
men like  your  stuff  in  New  Movie.  You 
are  big  shot  with  gunmen.  They  say 
Herb  got  right  idea.  Am  coming  back 
to  Glendale  to  my  wife.  Love  my  wife, 
Herb.  Is  0.  K.  Good  kid.  Love  her 
more  than  ever.  The  champ  Dempsey 
was  here  to  see  me  last  night.  The 
champ  O.  K.,  Herb.  Am  going  to 
write  my  old  pal  Douglas  Fairbanks. 
Greatest  of  all.  Doug  is  0.  K.,  Herb. 
Will  see  you  soon.     Your  pal. 

Bull. 

^  #  % 

71/fY  colored  boy,  who  goes  by  the 
■*■  "■*  name  of  Haywire,  got  bug-eyed 
when  I  read  him  that  Stepin  Fetchit 
would  speak  Spanish  in  a  picture. 

"Say,  he  can't  even  talk  English," 
gasped  Haywire.  "They  better  had  find 
out  what  he's  sayin'  in  that  picture!" 

*  *       * 

MY  favorite  new  eating  place  in 
Hollywood  is  Marie's  on  Ca- 
huenga,  south  of  the  Boulevarde.  The 
chef  is  Neapolitan.  Yolanda,  the  beau- 
tiful waitress,  named  for  the  Italian 
princess,  looks  like  Nita  Naldi  at  nine- 
teen. Yolanda  comes  from  Montana 
but  descends  from  the  sirens  of  Venice 
who  excited  Byron.  I  learn  much  from 
Yolanda.  She  is  studying  voice  and  as- 
sociates with  movie  folk.  Last  night, 
placing  my  minestrone,  she  said: 


In  the  midst  of  a  shower,  Herb  was  startled  when  Jeanette  Mac  Don- 
ald's  voice   suddenly  launched  into  "Dream   Lover."   But  it  was  only 
Herb's  phonograph. 


"I  met  Charlie  Chaplin's  future  wife 
at  a  party  the  other  night." 

"Yeah?"  I  muttered  chumpily,  "which 
one?" 

*       *       * 

TDOULEVARDING  Around  on  Satur- 
O  day  night: 

Now  buckling  on  the  spats  let's  do 
an  imitation  of  0.  O.  Mclntyre,  my 
favorite  breakfast  author. 

Hoofers  and  crooners  are  perform- 
ing before  a  mike  in  a  shoe  stoi-e.  Hol- 
lywood salesmanship. 

"Papers  from  all  the  leading  cities  of 
the  world!"  yawks  a  newsboy.  "Po- 
mona, Long  Beach,  Santa  Monica, 
Glendale!" 

California,  the  land  of  laugh  and 
wise-crack.  Sign  on  the  back  of  a  de- 
crepit Ford:  "Nobody  hurt  in  this 
wreck." 

Slim  electric  towers  of  KFWB,  atop 
Warner  Brothers  theater  look  like 
twins  laid  by  the  Eiffel. 

Window  filled  with  cheap  suits  and 
movie  stars'  photos.  They  always  get 
the  gapes.  Hollywood  is  star  raving 
mad. 

Lichter,  swank  tobacconist  in  the 
Chinese  theater  building:  "A  Puff  from 
Hollywood"  scrawled  in  Neon. 

There's  the  photographer  who  made  a 
fortune  marketing  stars'  photos  and 
saved  the  stars  a  fortune,  because  every 
response  to  a  request  for  a  photo  cost 
them  two  bits. 


It  suddenly  occurs  to  me  I  have  never 
been  hi-hatted  by  a  star.  Maybe  I'm 
too  hi-hat  to  be  hi-hatted. 

Group  of  homey  folk  playing  cards 
in  lobby  of  Christie  Hotel. 

Kathleen  Clifford's  flower  shop, 
branches  all  over  town. 

Sign:  "Turkey,  chicken,  duck  din- 
ner 85  cts."  Um,  um.  I'm  going  to 
save  up. 

Buddy  Squirrel's  Nut  Shop. 

Two  gobs  looking  wistful.  .  .  Haven't 
seen  their  Clara  Bow.  I  suggest  a  new 
recruiting  slogan  for  the  navy:  "Join 
the  Navy  and  be  Bow's  Baby!" 

Youth  with  whiskers,  probably  an  ex- 
tra in  a  Russian  picture.  Wonder  if  I 
could  grow  such  chin  tail  plumage. 

Dashing  person  in  white  sweater,  yel- 
low muffler,  blue  beret,  at  wheel  of  road- 
ster. Is  it  boy  or  girl?  No  color  line 
in  Hollywood. 

Never  saw  a  slimmer  guy  than  Gary 
Cooper.  Lindy  made  the  slim  male  fash- 
ionable.    Much  obliged,  Lindy! 

Stepin  Fetchit  salutes  me  from  his 
shining  chariot,  tells  me  he  has  visited 
Valentino's  tomb:  "Membered  what  you 
said,  that  I  could  do  foh  mah  people 
what  he  did  foh  Eyetalians." 

There  is  no  city  on  earth  so  filled 
with  beautiful  youth,  male  and  female, 
as  Hollywood. 

Is  that  a  tag  on  my  car?  .  .  .  Fines, 
taxes,  assessments,  jip,  jip,  jip.  .  .  .  I'm 
going  to  Europe! 


The  Hollywood  Boulevardier 


by  Herb  Howe 


is  a  regular  monthly  feature  of  NEW  MOVIE.     Nowhere  else  can  you  read  Mr.  Howe's  brilliant 
comments  upon  motion  pictures  and  motion  picture  people. 


97 


In  Metro-Goldwyn's  "The  High  Road"  you  will  see  Ruth  Chatterton  in  a  different  sort  of  role, 
leading  the  chorus  in  the  musical  comedy  sequence  of  this  production. 


Above,  you  see  her 


Gossip  of  the  Studios 


pany  is  headed  for  and  he  said  the 
place  was  overrun  with  orang-outangs 
between  seven  and  eight  feet  tall. 

John  Barrymore  and  Dolores  Costello 
(Mister  and  Missus  Barrymore)  have 
not  yet  named  the  pretty  little  girl 
baby  who  arrived  at  their  house  for  a 
long  stay,  April  8th.  John  had  a  whole 
flock  of  names  ready,  but  they  were  all 
for  boys.  The  baby  iveighed  seven 
pounds  and  eleven  ounces. 

RENEE  ADOREE,  who  has  been  in 
■  a  sanitorium  for  several  months 
due  to  a  pulmonary  ailment,  is  slowly 
but  surely  winning  her  way  back  to 
health. 

COUNT  MICHAEL  KAROLYI, 
Hungarian,  says  that  motion  pic- 
tures are  the  greatest  propaganda 
agents  in  the  world.  "Any  feeling  can 
be  aroused,  and  wars  can  be  precipi- 
tated by  motion  pictures."  But  he 
says  that  the  talking  pictures  are  not 
so  hot. 

Dorothy  Herzog,  well-known  colum- 
ist  on  screen  matters,  has  a  new  novel 

98 


(Continued  from  page  96) 

out  called  "Some  Like  'Em  Hot,"  which 
has  gone  into  the  second  edition.  Miss 
Herzog,  by  the  way,  becomes  a  New 
Movie  contributor  next  month. 

FIRE  raised  merry  ned  with  the 
Harold  Lloyd  home  when  it  burned 
out  the  kitchen  and  part  of  one  wing  of 
his  beautiful  new  Beverly  Hills  estab- 
lishment. He  and  Mrs.  Lloyd  (Mildred 
Davis)  and  little  Gloria  are  living  at 
the  Ambassador  until  the  damage  can 
be  repaired. 

MR.  AND  MRS.  HARRY  ED- 
WARDS (Evelyn  Brent)  had  a 
small  dinner  party  at  the  Embassy 
recently.  The  guests  were  Mr.  and 
Mrs.  Jack  Buchanan  and  Mr.  and  Mrs. 
Lowell  Sherman    (Helene  Costello). 

AL  JOLSON  made  a  speech  at  the 
opening  of  his  latest  picture, 
"Mammy,"  in  which  he  said  that,  after 
seeing  "All  Quiet  On  the  Western 
Front"  he  would  never  again  be  satis- 
fied with  anything  he  did. 

Dick    Arlen    has    bought    a    cruiser 
which  he  has  named  "Joby  R." 


ELEANOR  HUNT  was  a  chorus  girl 
in  the  "Whoopee"  show  in  New 
York.  She  was  sent  to  Hollywood  to 
be  a  chorus  girl  in  the  "Whoopee" 
movie.  Sam  Goldwyn,  who  is  produc- 
ing "Whoopee"  at  United  Artists,  saw 
Eleanor  walking  on  the  lot.  He  gave 
her  a  test.  Now  she  is  to  play  the 
leading  lady  in  "Whoopee."  She  has 
natural  auburn  hair,  blue  eyes,  weighs 
116  pounds  and  is  five  feet  five  inches 
tall. 

Lillian  Roth  has  bought  a  neio 
Durant  roadster. 

BILLIE  DOVE  is  taking  her  first 
real  vacation  in  years — and  she 
hardly  knows  what  to  do  with  it.  She 
kinda  wants  to  go  to  Europe,  yet 
doesn't.  She  is  through  at  First 
National  and  may  be  seen  in  Caddo 
Films  in  the  future. 

Vilma  Banky  says  that  she  is 
through  with  making  pictures  and  that 
in  the  future  the  one  job  she  will  pay 
any  attention  to  is  that  of  being  Mrs. 
Rod  La  Rocque. 

(Continued  on  page  104) 


Jhr  Economical  Transportation 


IT'S  WISE  TO  CHOOSE  A  SIX 

» •  because  so  much  depends  on  smoothness 
and  quietness  of  operation 


In  the  great  low-price  field,  old  ideas  of  motor 
car  value  have  undergone  a  radical  change  during 
the  past  eighteen  months.  The  six  has  swept  into 
spectacular  popularity.  And  largely  responsible 
for  this  is  the  fact  that  Chevrolet  offers  buyers  in 
the  low-price  field  the  advantages  of  six -cylinder 
smoothness  and  quietness  of  operation! 

The  big  50 -horsepower  motor  operates  with  that 
effortless  smoothness  so  essential  to  genuine 
motoring  enjoyment.  When  you  idle  the  motor 
— drive  fast  in  second — accelerate  rapidly  in  high 
gear— or  travel  for  hours  at  top  speed,  the  power 
flows  evenly  and  easily  all  the  time.  Every  per- 
son in  the  car  has  a  pleasant  and  restful  ride. 


:.  '  :'"...  '      '  .-    ; '    -  •  '  "'  " 

%fc"p      fflBHta»»»"-""" 


The  Sport  Boadsler,  #555 

In  addition  to  increasing  the  enjoyment  of 
motoring,  Chevrolet's  six-cylinder  smoothness 
actually  protects  the  car  against  the  effects  of 
continuous  vibration.  This  makes  for  lower  up- 
keep costs,  longer  life,  and  a  higher  resale  value. 

Yet  for  all  these  advantages  of  finer,  smoother, 
more  flexible  six -cylinder  performance,  the  Chev- 
rolet Six  is  one  of  the  most  economical  cars  you 
can  own.  It  costs  no  more  for  gas,  oil  and  tires. 
It  costs  no  more  for  up-keep.  And  it  can  be  pur- 
chased on  extremely  favorable  terms — a  low 
down  payment  and  easy  monthly  installments. 

CHEVROLET  MOTOR  COMPANY,  DETROIT,  MICHIGAN 

Division  of  General  Motors  Corporation 


CHEVROLET  SIX 


The  Sport  Roadster.  .    $555 
The  Coach  or  Coupe.  .*<50<J 

The  Sport  Coupe S655 

The  Club  Sedan S625 

The  Sedan *675 

The  Special  Sedan S?25 

(6  wire  wheels  standard) 

Bumpers  and  spare  tires  extra 


Roadster  or  Phaeton 

'495 


The  Sedan  Delivery.  .   S595 
Light  Delivery  Chassis. **50D 

1 14  Ton  Chassis $520 

1  \'2  Ton  Chassis  with    _^~- 

Cab s625 

Roadster  Delivery *440 

(Pick-up  box  extra) 

All  prices  /.  o.  b.  factory 
Flint,  Michigan 


The  Perfect  Comedy  Team 

Marie  DRESSLER 

and  P0lly  MORANu 


ittOHS  fWH>s 

\m  Union  Tf-1 

pM?  TO  LOCAL 


with 
ANITA 
PAGE 

Adaptation     and 

Dialogue  by 

W1LLARD    MACK 

Directed  by 

CHARLES  F. 

RIESNER 
Suggested  by 

EDDIE 

CANTOR'S 

book. 


From  wash-boards  to  Wall  Street  —  from 
cleaning  up  in  the  kitchen  to  cleaning  up 
in  the  stock  market!  What  a  riot — what  a 
scream — what  a  panic  of  laughs — are  these 
two  rollicking  comedians  as  they  romp  their 
way  through  the  merriest,  maddest  picture 
you  ever  saw.  How  they  put  on  the  ritz 
while  the  money  rolls  in!  Then  came  the 
dawn  —  and  back  to  the  soap  suds  with 
Marie  and  Polly.  Don't,  don't,  DON'T 
miss  seeing  "Caught  Short". 


_H'  W  M\H<\ 


METRO-GOLDWYN-MAYER 


'Miuv  Stars    I  /win    f/irrr  Arc  in 


What  the  Stars  Are  Doing 


STAR 

TITLE 

DIRECTOR 

KIND  OF  STORY 

LEADING  PLAYER 

COLUMBIA  STUDIO 

Jack  Holt 
Joe  Cook 
Sally  O'Neil 
Lois  Wilson 
Buck  Jones 

Hell's  Island 
Rain  or  Shine 
Sisters 
Temptation 
Man  from  Hell's 
River 

Ed  Sloman 
Frank  Capra 
James  Flood 
E.  Mason  Hopper 
Lou  King 

Melodrama 

Comedy-Drama 

Drama 

Drama 

Western 

Dorothy  Sebastian 
William  Collier,  Jr. 
Molly  O'Day 
Lawrence  Gray 
Vera  Reynolds 

FIRST  NATIONAL  STUDIO 

Richard  Barthelmess 
Walter  Huston 
Alice  White 

Dawn  Patrol 
Bad  Man 
Chicago  Widow 

Howard  Hawks 
Clarence  Badger 
Ed  Cline 

Air  Picture 

Melodrama 

Gangster 

Doug  Fairbanks,  Jr. 
Dorothy  Revier 
Neil  Hamilton 

FOX  STUDIO 

Margaret    Churchill 
George  O'Brien 
Beatrice  Lillie 
Frank  Albertson 
Irene  Rich 
Charles  Farrell 

The  Big  Trail 
Last  of  the  Duanes 
Are  You  There? 
Wild  Company 
On  Your  Back 
Devil  with  Women 

Raoul  Walsh 
Alfred  Werker 
David  Butler 
Leo  McCarey 
Guthrie  McClintic 
Frank  Borzage 

Western 

Western 

Comedy 

Youthful 

Drama 

Drama 

John  Wayne 
Lucille  Brown 
Roger  Davis 
Sharon  Lynn 
H.  B.  Warner 
Rose  Hobart 

HAROLD  LLOYD  STUDIO 

Harold  Lloyd 

Feet  First 

Clyde  Bruckman 

Comedy 

Barbara  Kent 

METRO-GOLDWYN-MAYER  STUDIO 

John  Mack  Brown 
Reginald  Denney 
All  Star 
Greta  Garbo 
Joan  Crawford 
Gilbert  Roland 
Lon  Chaney 

Billy  the  Kid 
Mme.  Satan 
March  of  Time 
Romance 
Blushing  Brides 
Monsieur  Le  Fox 
The  Unholy  Three 

King  Vidor 
C.  D.  DeMille 
Chuck  Reisner 
Clarence  Brown 
Harry  Beaumont 
Hal  Roach 
Jack  Conway 

Western 

Comedy 

Revue 

Drama 

Melodrama 

Northwest  Drama 

Melodrama 

Lucille  Powers 
Kay  Johnson 

Galvin  Gordon 
Ray  Hackett 
Barbara   Leonard 
Lila  Lee 

PARAMOUNT  WEST  COAST  STUDIO 

Gary  Cooper 
Jeanette  MacDonald 
William  Powell 
Claudette  Colbert 
Cyril  Maude 
Buddy  Rogers 

Untitled 
Monte  Carlo 
For  the  Defense 
Manslaughter 
Grumpy 
Follow  Thru 

Roland  Lee 
Ernst  Lubitsch 
John  Cromwell 
George  Abbott 
Cukor-Gardner 
Corrigan-Schwab 

Romantic  War  Story 

Musical 

Drama 

Drama 

Comedy 

Musical 

June  Collyer 
Jack  Buchanan 
Kay  Francis 
Frederic  Marsh 
Frances  Dayde 
Nancy  Carroll 

R  K  O  STUDIO 

Betty  Compson 
Richard  Dix 
Robert  Armstrong 

Inside  the  Lines 

Square  Dice 

The  Railroad  Man 

Roy  Pomeroy 
Geo.  Archainbaud 
Geo.  B.  Seitz 

War  Spy  Story 
Crook 
Railroad  Story 

Ralph  Forbes 
Mary  Lawlor 
Jean  Arthur 

UNITED  ARTISTS  STUDIO 

Eddie  Cantor 
Norma  Talmadge 

Whoopee 

Du  Barry,  Woman 
of  Passion 

T.  Freeland 
Sam  Taylor 

Musical  Comedy 
Drama 

Eleanor  Hunt 
Conrad  Nagel 

UNIVERSAL  STUDIO 

Dorothy  Janis 

Orang 

H.  Garson 

Exploring 
Melodrama 

A.  Cannibal 

WARNER  BROTHERS  STUDIO 

Joan  Bennett 
Winnie  Lightner 
Grant  Withers 
Lotti  Loder 

Maybe  It's  Love 
Life  of  the  Party 
Penny    Arcade 
A  Soldier's  Play- 

Wm. Wellman 
Roy  Del  Ruth 
John  Adolfi 
Michael  Curtiz 

Comedy 
Comedy 
Comedy-drama 
Comedy-drama 

Joe  Brown 
Irene  Delroy 
Evelyn  Knapp 
Ben  Lyon 

Al  Jolson 

thing 
Big  Boy 

Alan  Crosland 

Musical  Comedy 

Claudia  Bell 

101 


FIRST  AIDS  to  BEAUTY 


By  ANN   BOYD 

How   to   Achieve 
a  Suntan  With- 
out    Injurious 
Results 


Virginia  Bruce  demonstrates 
how  to  keep  your  teeth  beau- 
tiful. Brush  the  teeth  once  a 
day  with  salt,  to  stimulate  cir- 
culation in  the  gums  and  for 
cleanliness.  Use  a  vigorous  up 
and  down  movement  when 
brushing  the  teeth.  Never  em- 
ploy a  rotary  movement,  unless 
your  dentist  advises  it.  Eat 
several  slices  of  crisp  toast 
every  day.  Toast  is  excellent 
for    strengthening    the    gums. 


WITH  the  approach  of  vacation  days,  many  girls 
write  in  to  ask  me  how  they  may  achieve  a 
suntan  without  sacrificing  the  beauty  of  their 
skins;  how  they  may  acquire  a  coat  of  tan 
without  enduring  that  first  painful  and  disfiguring  sun- 
burn. Until  very  recently  most  girls  avoided  any  sort 
of  tan  and  went  to  amusing  and  inconvenient  lengths 
to  keep  their  pink  and  white  complexions  in  face  of 
the  summer  sun.  Bathing  suits  were  made  with  long 
sleeves  and  high  necks,  parasols  were  in  great  demand 
and  wide,  floppy  hats  were  an  absolute  necessity  in 
the  summer-time. 

When  the  suntan  first  became  popular,  some  girls 
also  went  to  foolish  extremes  and 
risked  their  health  and  good  looks 
in  order  to  be  able  to  acquire 
quickly  one  of  those  fashionable 
tans. 

THE  first  thing  to  remember 
about  a  suntan  is  that  it  can- 
not be  achieved  in  one  or  two 
days.  If,  for  instance,  you  don 
your  sunback  bathing  suit  and 
spend  an  afternoon  under  the  hot 
glare  of  the  sun  you  will  get 
nothing  but  a  painful  burn  which 
will  annoy  you  when  it  reaches  the 
peeling  stage  and  you  will,  in  dis- 
comfort and  in  actual  damage  to 
your  health,  do  more  harm  than 
good. 

If  you  want  an  even,  painless 
tan,  begin  by  making  your  sun- 
bath  last  only  fifteen  minutes. 
You  may  remain  as  long  as  a  half 
hour  at  the  start,  if  the  sun  is 
not  too  hot  or  strong.  Gradually 
increase  the  length  of  your  stay 
in  the  sun  until  your  skin  has 
built  up  its  own  protection  against 
a  burn. 

A  sunburn,  you  know,  is  an  ac- 
tual burn.     In  order  to  realize  its 

102 


results,  you  must  know  something  about  burns.  A  first 
degree  burn,  whether  received  by  open  flame  or  the 
sun's  rays,  reddens  the  skin  without  actually  breaking 
it.  A  second  degree  burn  raises  a  blister.  In  a  third 
degree  burn — such  as  received  by  actual  contact  with 
fire — the  skin  is  seered.  Now  if  more  than  half  the 
surface  of  your  body  receives  a  second  degree  burn, 
you  are  interfering  with  some  important  bodily  func- 
tions. You  are  cutting  off  the  necessary  perspiration, 
besides  letting  yourself  in  for  several  painful  days.  In 
your  sunbath,  therefore,  you  must  avoid  a  second  de- 
gree burn  which,  if  it  is  widespread  enough,  may 
require  medical  attention.  There  are  various  things  that 
you  can  do  to  protect  your  skin 
without  interfering  with  the 
healthful  results  of  a  sunbath. 
Many  movie  actresses  that  I  know 
rub  their  skins  with  vinegar  after 
a  sunbath.  This  is  supposed  to 
make  the  skin  an  even  brown 
color.  I  don't  know  that  there  is 
any  good  reason  for  this  belief, 
but  the  actresses  who  use  vinegar 
insist  that  it  is  a  great  help. 

On  the  other  hand,  there  are 
those  who  favor  olive  oil.  (We 
seem  to  run  to  salad  dressing  in- 
gredients.) Oil,  I  know,  is  very 
successful,  particularly  with  young 
children  and  with  blondes  who 
have,  as  a  rule,  more  tender  skins 
than  brunettes.  The  oil,  too,  is 
soothing  to  the  skin  and  is  of  mi- 
nor benefit  to  persons  who  are  thin 
or  run  down  or  whose  skin  is  dry. 

TV/TY  favorite  lotion  is  a  prepa- 
I-'-l  ration  for  the  hands  which 
I  use  before  I  take  a  sunbath 
as  a  foundation  protection  for  the 
skin.  There  are  many  such  ex- 
cellent lotions  on  the  market  and 
also  a  number  of  good  protective 
(Continued  on  page  127) 


The   New   Movie   Magazine 


THE  STRANGER  THEY  NEVER  EORGOT 


This  stranger  knocked  at  the  door  of 
many  a  home  back  in  the  early  1890's. 

Politely  he  asked  for  the  dirtiest 
garment  in  the  family  wash.  Then  he 
showed  how  an  amazing  new  soap 
would  wash  it  swiftly,  easily,  without 
hard  rubbing — and  in  cool  water. 

In  cool  water — that  was  the  big 
news  the  stranger  brought.  For  in 
those  days,  only  mansions  had  water 
heaters. Women  had  to  heat  their  wash 
water  on  cookstoves. There  was  never 
really  enough.  And  the  soaps  they 
had  simply  wouldn't  wash  clean  in 
cool  or  lukewarm  water  without  rub- 
bing the  clothes  almost  to  shreds. 

So  Fels-Naptha,  the  soap  the 
stranger  introduced,  was  welcomed 
by  thousands  of  women.  A  soap  that 
would  wash  as  well  or  better  in  cool 
water  than  other  soaps  did  in  hot  was 
the  biggest  help  they  had  ever  had. 

Fels-Naptha  would  also  work  fine 
in  hot  or  boiling  water.   But  there 


wasn't  any  use  talking  about  that 
when  lukewarm  water  was  all  women 
had.  So  today,  when  almost  every 
woman  can  have  loads  of  hot  water 
just  by  turning  a  faucet,  many  still 
think  of  Fels-Naptha  as  only  a  "cool 
water  soap." 

It  isn't.  Fels-Naptha  washes  clothes 
beautifully  clean  without  hard  rub- 
bing no  matter  how  you  use  it.  You 
can  boil  or  soak  your  clothes;  you  can 
use  washing  machine  or  tub.  It's  the 
nature  of  soap  to  wash  best  in  hot 
water — and  Fels-Naptha  is  no  excep- 
tion. But  it  also  does  a  wonderful  job 
in  lukewarm  or  even  cool  water. 

Fels-Naptha  helps  keep  your 
hands  nice.  For  the  unusually  good 
soap  and  plentiful  naptha  working 
together  get  clothes  clean  so  quickly 
that  you  don't  have  your  hands  in 
hot  water  so  long. 

Buy  a  few  bars  of  Fels-Naptha  from 
your  grocer  today.  You  will  find  the 


ten-bar  carton  especially  convenient. 
Use  Fels-Naptha  for  all  household 
cleaning  as  well  as  for  the  family 
wash — and  you  will  know  why  they 
never  forgot  the  stranger. 

FREE  —  Whether  you  have  been  using  Fels-Naptha 
for  years  or  have  just  now  decided  to  try  its  extra 
help,  we'll  be  glad  to  send  you  a  Fels-Naptha  Chipper. 
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103 


Remember  Fritzi  Scheff  in  "Mile.  Modiste"?     Remember  her  famous  song,  "Kiss  Me  Again"?     "Mile.  Modiste"  has 
just  been  filmed  by  Vitaphone,  with  Bernice  Claire  as  the  saucy  belle  of  the  drums. 

Gossip  of  the  Studios 


METHODS  of  crime  shall  not  be 
presented  in  explicit  detail  upon 
the  screen. 

Revenge  in  modern  times  shall  not 
be  justified  as  a  motive. 

The  use  of  liquor  in  American  life 
shall  be  restricted  to  the  actual  re- 
quirements of  characterization  or  plot. 

The  sanctity  of  the  institution  of 
marriage  and  the  home  shall  be  upheld. 

Scenes  of  passion  shall  not  be  intro- 
duced when  not  essential  to  the  plot. 

No  film  or  episode  may  throw  ridi- 
cule upon  any  religious  faith. 

Pointed  profanity  is  forbidden. 

These  are  some  of  the  provisions  of 
the  new  code  of  ethics  which  Will  Hays' 
organization  has  put  forth  for  the 
guidance  of  motion  picture  producers. 

Lois  Moran  has  just  become  21 
years  old.  As  a  present  she  was 
handed  $68,005  which  an  aunt,  Edith 


(Continued  from  page  98) 

Darlington  Ammon,  who  died  in  1919, 
left  for  her. 

MRS.  TOM  INCE,  widow  of  the 
producer  who  died  in  1924,  has 
married  again.  This  time  to  Holmes 
Herbert,  an  actor.  And  in  doing  so  at 
this  time  she  may  forfeit  her  interest 
in  the  $2,000,000  estate  left  by  her  hus- 
band. 

The  will  of  the  producer  contained  a 
provision  that  Mrs.  Ince  would  lose  the 
principal  and  be  given  only  the  income 
from  it  if  she  married  within  seven 
years  of  his  death.  She  had  only  a 
year  to  go. 

The  motion  picture  industry  employs 
325,000  directly  and  furnishes  a  liveli- 
hood for  at  least  1,250,000  people. 


A 


N    armored    truck    and    six    detec- 
tives     backed      up      to      Warner 


Brothers  studio.  The  truck  transported 
and  the  dicks  guarded  $200,000  worth 
of  jewelry  which  Irene  Delroy  was 
going  to  wear  in  a  picture. 

Warner  Baxter  and  his  wife  have 
gone  to  New  York  and  Cuba  for  a 
vacation. 

A  RARE  event  occurred  at  the  Roose- 
velt Hotel  on  a  recent  evening, 
when  Al  Jolson  appeared  as  guest  of 
honor  at  a  party  given  by  Mr.  and  Mrs. 
Michael  Curtiz  (Bess  Meredyth)  fol- 
lowing the  premiere  of  "Mammy." 
Mrs.  Jolson  was  present  of  course, 
looking  very  stunning  in  a  long,  tightly 
draped  frock  of  pale  green.  Those  who 
attended  the  supper  were  Mr.  and  Mrs. 
Harry  Langdon,  Oscar  Strauss,  Frank 
Fay,  Alan  Crosland,  Mr.  and  Mrs.  Jack 
Warner,  Louella  Parsons,  Harriet 
Parsons  and  Dr.  Harry  Martin. 


Dollar  Thoughts 


struck  by  the  ability  of  a  minor  char- 
acter and  he  doesn't  have  any  idea  who 
it  is  and  has  no  way  of  finding  out. 

Can't   something   be   done    about   it? 
Let's  hear  other  people's   opinions. 
Grace  M.  Custer, 
2423  Clyde  PL,  S.  W. 

Against  Musical   Comedies 

Edmonton,   Alberta,    Canada 

These  musical  comedies  certainly  are 

104 


(Continued  from  page  58) 

getting  on  my  nerves.  They're  terribly 
much  the  same.  The  plots  are  weak, 
and  serve  only  as  a  background  for  the 
boring,  musical  extravaganza.  Many 
people  think  the  same  as  I  do.  They're 
all  right  until  you've  seen  three  or  four 
of  them,  but  after  that — phooh !  Why 
can't  we  have  a  few  talkies  with  real 
plots  and  less  music  and  dancing? 

Marion  Conroy, 

10048— 115th  Street 


Covington,  Ky. 

I  have  just  spent  a  pleasant  after- 
noon reading  the  new  Movie  Magazine 
from  cover  to  cover.  Such  lovely  pic- 
tures, interesting  articles  and  well- 
known  writers,-  a  very  remarkable 
magazine.  I  get  so  many  giggles  from 
that  wit  J.  P.  McEvoy,  and  Adele 
Rogers  St.  Johns  is  very  good.  Give  us 
lots  of  Herb  Howe  and  Homer  Croy. 
Hildreth  Dickerson, 
227  E.  Seventh  Street 


The    New    Movie    Magazine 


CAKES    BAKED    IN    CRINKLE    CUPS 
STAY   FRESH    AND   WHOLE 


They  come  out  whole,  too... 
they  do  not  stick  to  the  cup 


Mow  much  easier  it  is  to  bake  this  modern  way.  No  bother  of 
greasing,  no  work  of  washing  up  sticky  pans.  Much  more  satis- 
factory, too  .  .  .  with  every  cake  turned  out  evenly  baked. 

Bake  in  Crinkle  Cups  and  every  batch  of  cakes  will  be  the  kind 
you  are  proud  to  serve.  Bake  in  Crinkle  Cups  and  the  cakes  wi 
stay  fresh  and  moist.  Use  Crinkle  Cups  for  better,  easier  baking 

You  Will  Like  This  Cream  Spice  Cake: 


2  cupfuls  brown  sugar 
yi  cupful  shortening 

3  egg  yolks 

i  teaspoonfuls  cloves 
2  teaspoonfuls  cinnamon 


2  teaspoonfuls  allspice 

1  cupful  sour  cream 

2  cupfuls  pastry  flour 
%  teaspoonful  salt 

i  teaspoonful  soda 


3  egg-whites  beaten  stiff 

Cream  together  the  sugar  and  shortening  until  thoroughly  blended.  Add  the 
beaten  egg  yokes,  the  cinnamon,  cloves  and  allspice,  and  beat  well.  Sift  to- 
gether the  flour,  salt  and  soda.  Add  to  the  cake  mixture  alternately  with  the 
sour  cream.  Last  fold  in  the  stiffly  beaten  egg-whites.  Pour  into  Crinkle  Cups 
and  bake  in  a  moderate  oven  of  375°  F.  for  thirty  minutes. 

SOLD  AT  F.  W.  WOOLWORTH  CO.  5  and  10  CENT  STORES 


0UNKP&CUP& 


,u//<u. 


105 


The  Heart  of  Greta  Garbo 


Gavin  Gordon  shed  no  tears,  knew  no 
despair.  His  real  sorrow  was  that  he 
never  saw  Greta  Garbo.  Soon  he  dis- 
covered among  the  others  he  met  that 
the  great  actress  of  the  screen  was  diffi- 
cult to  know,  even  for  the  elect.  She 
moved  in  mysterious  ways,  lonely  ways, 
and  there  were  hundreds  of  people 
right  in  her  own  studio  who  had  never 
spoken  a  word  to  her.  Even  the  girl 
who  did  stand-ins  for  her — to  take  the 
burden  of  standing  for  lights  and  cam- 
era angles  from  her  shoulders — had 
never  met  her.  No  one,  not  even  the 
studio  officials,  knew  where  she  lived. 

He  had  to  content  himself  with  going 
every  night  to  see  any  picture  of  her 
that  was  running,  sitting  for  hours 
wrapt  in  wonder  at  her  art  and  her 
beauty.  This  woman  of  the  silversheet 
filled  his  thoughts  and  his  dreams. 

If  he  could  only  get  a  chance.  The 
friends  he  had  made  marveled  at  the 
steadiness  of  his  ambition,  the  silent, 
smiling  determination  of  this  tall 
young  man  from  the  South.  Knowing- 
Hollywood,  they  wondered  if  he  would 
be  added  to  the  thousands  who  have 
tried  and  failed  and  been  heartbroken. 

He  might  have  been  but  for  a  chance, 
a  coincidence  such  as  fiction  editors  de- 
plore on  the  ground  that  things  like 
that  don't  happen  in  real  life. 

IN  the  dark  projection  room  of  one  of 
the  biggest  studios,  a  group  of  wor- 
ried people  sat  watching  the  screen.  A 
producer,  a  director,  a  writer  and  a  fa- 
mous star. 

They  were  looking  at  screen  tests, 
sent  to  them  from  all  the  studios  in 
Hollywood,  searching  for  a  young  actor 


(Continued  from  page  84) 

who  could  play  a  certain  part.  All  the 
well-known  leading  men  had  been  dis- 
cussed and  found  wanting.  All  the 
newcomers  being  hailed  had  been  con- 
sidered. Stage  actors  had  been  elimi- 
nated one  by  one.  Agencies  had  sent 
candidates  without  number. 

No  one  seemed  to  be  just  what  they 
wanted  and  the  situation  was  des- 
perate. So  they  sat  running  test  after 
test,  hoping  somewhere  among  the  un- 
known legions  to  make  a  lucky  find. 

Suddenly  there  appeared  before  them 
on  the  screen  a  tall,  well  set  up  young 
man,  with  a  stern  face  marked  by  self- 
discipline  and  reserve,  and  through  the 
sound  tract  came  a  slow,  deep  voice, 
with  the  softness  of  the  South  held  in 
check  by  a  delicate  precision  of  enun- 
ciation. 

The  little  group  sat  up,  when  as 
quickly  as  it  had  come  on  the  picture 
faded,  the  lights  went  up. 

"I'm  sorry,"  said  the  operator's  voice 
from  above  them,  "that's  not  for  you. 
It  got  here  by  mistake.  That's  for 
Mr.  Vidor,  I'll  be  ready  in  a  minute." 

"You  run  that  test,"  said  the  pro- 
ducer. 

"Okey,"  said  the  operator. 

They  ran  it  four  times. 

"Well?"  said  the  producer. 

"That's  it,"  said  the  director  and  the 
star  in  chorus. 

TWO  hours  later  a  publicity  man  in 
the      Metro-Goldwyn-Mayer      office 
called    a    Santa    Monica    number    and 
asked  for  a  name  written  on  a  memo- 
randum before  him. 
"Mr.  Gordon?" 
"This  is  Mr.  Gordon." 


;.  ,, ,  ■       -    ■■.''■  ■    ■-■-     ■■"'■    :-- 

.     ;   .:,-:'v    ■->■ 

! 

m* 

u 

■■■   . 

W^% 

ftBb- 

Ffp8 

K 

■ 

■H 

W#- 

■    * 
SB.     ^^j£.  *""-•  "j? 

2£^35 

When  Gavin  Gordon  was  able  to  return  to  the  studio  after  his  accident,  he  did  the 

prologue   scenes   of  "Romance,"  in  which  he  is  an  aged  man.     Above,  George 

Wetmore  adding  a  half  century  to  Gavin. 


"We  wondered  if  you  could  come  in 
some  time  tomorrow  and  have  some  por- 
traits taken.  This  is  the  publicity  de- 
partment at  M-G-M.  We'll  need  new 
photographs  to  go  with  the  announce- 
ment." 

"What  announcement?"  said  Gavin 
Gordon. 

"Why,  that  you're  to  play  the  lead- 
ing role  with  Garbo  in  'Romance'." 

There  was  a  long  silence  at  the  other 
end  of  the  phone.  Then  a  voice  said, 
"My  God!"  and  meant  it. 

It  isn't  often  that  it  comes  to  a 
human  being  to  have  his  every  wish 
gratified.  Had  Gavin  Gordon  been 
given  a  magic  lamp  and  one  wish  to 
be  fulfilled,  he  would  have  chosen  to 
play  Tom,  the  young  minister  opposite 
Garbo,  rather  than  to  be  President  or 
owner  of  a  million  dollars. 

When  he  first  met  her  for  talks  con- 
cerning the  story,  he  found  her  to  be 
even  more  marvelous  than  he  could 
have  imagined. 

"She  was  so  gracious,"  he  told  me, 
"so  beautiful,  but  so  kind.  I  had  heard 
how  aloof  she  was.  But  even  that  first 
day  she  put  me  at  my  ease,  made  me 
feel  confidence  that  I  could  do  the  part 
the  way  she  wanted  it  done.  She  was 
queenly,  yes.  But  with  the  queenliness 
of  every  great  artist.  Far  above  other 
women,  but  with  the  greatest  sweet- 
ness of  manner  and  the  most  natural 
way  of  talking  to  you." 

THE  starting  date  of  the  picture  ar- 
rived. Gavin  Gordon  hadn't  slept 
all  night  and  when  he  got  into  his  little 
roadster  he  was  in  a  delirium  of  hap- 
piness. As  he  drove  along  Washington 
Boulevard,  keyed  to  the  highest  pitch, 
ready  for  the  great  day  of  his  life,  an- 
other car  turned  out  of  a  side  street 
and  crashed  into  him. 

He  was  thrown  out  onto  the  pave- 
ment and  struck  on  his  left  shoulder. 

When  he  couldn't  sit  up,  he  found 
that  the  pain  was  excruciating.  His 
arm  hung  at  his  side  helpless.  Red 
hot  daggers  plunged  through  him.  But 
he  thought  of  only  one  thing.  "I  won't 
be  able  to  play  the  part.  If  they  know 
I'm  hurt  they'll  never  let  me  start." 

The  mountaineer  blood  told.  Gavin 
Gordon  got  to  his  feet,  set  his  jaw 
stubbornly,  and  drove  to  the  studio. 

With  infinite  pains  he  put  on  a  make- 
up. The  sweat  pouring  down  his  face, 
he  got  into  his  costume.  Holding  him- 
self rigid,  he  went  out  on  the  set.  For 
a  solid  hour  he  worked,  upheld  by  his 
nearness  to  his  idol,  by  his  iron  deter- 
mination to  say  nothing  to  anyone  lest 
the  part  be  taken  from  him. 

At  the  end  of  that  hour  he  fainted 
in  Garbo's  arms. 

That  time  when  he  came  to,  he  was 
in  a  hospital.  He  had  a  fractured 
collar  bone,  a  dislocated  shoulder  and 
a  mass  of  torn  ligaments.  But  he  tried 
to  get  up.  He  tried  so  hard  that  the 
nurses  called  frantically  for  the  doctor. 

"I  won't  stay  here,"  the  boy  shouted. 
"I'm  all  right.  I'm  not  really  hurt.  I 
can  stand  it,  let  me  go  back." 

He  struggled  so,  weak  and  half  sick 
with  pain  and  the  worse  torture  of  his 
fears,  that  he  tore  loose  the  dressings 
and  rebroke  the  bone  that  had  been 
set. 

Suddenly  he  heard  a  deep,  sweet 
(Continued  on  page  108) 


106 


The  New  Movie  Magazine 


How  They  Met 

(Continued  from  page  45) 

arrived.  John  mentioned  his  business — 
and  Mickey,  with  a  look  at  his  watch, 
said  "I  can't  talk  to  you  now.  I'm 
giving  a  party  down  at  Sunset  Inn  and 
I've  got  to  get  there.  I'm  late  now. 
You  come  along  and  we'll  get  a  min- 
ute during  the  evening." 

John  said  he  couldn't.  His  shirt  was 
dirty,  he  needed  a  shave,  and  anyway 
he  was  too  hot.  Mickey  told  him  there 
was  a  cute  girl  coming,  and  he  could 
be  her  partner.  John  said  he  didn't 
want  to  meet  any  cute  girls.  But 
finally,  being  a  conscientious  Irishman, 
he  went.  At  Sunset  Inn  he  met  the 
girl.  She  was  Colleen  Moore.  Ten 
minutes  later  John  had  forgotten 
everything,  and  before  the  evening  was 
over  he  had  proposed — dirty  shirt, 
whiskers  and  all — and  been  given  an 
answer  which  wasn't  too  discouraging. 
That  was  how  Colleen  became  Mrs. 
John  McCormick.  Now,  alas,  a  divorce 
is  impending. 

IT  wasn't  like  that  with  Mr.  and  Mrs. 
Douglas  Fairbanks,  Jr.  Joan  Craw- 
ford had  been  meeting  young  Doug  for 
several  years— and  she  didn't  think 
much  of  him,  either.  Their  introduc- 
tion took  place  at  a  Hollywood  party, 
soon  after  Joan  came  out  from  New 
York,  and  later  she  told  somebody  that 
she  thought  young  Fairbanks  was 
pretty  high  hat.  They  saw  each  other 
casually  from  time  to  time,  said,  "How 
do  you  do,"  and  passed  on. 

Then  one  night  Joan  drifted  into  a 
Hollywood  theater  to  see  the  stage 
play,  "Young  Woodley."  She  didn't 
know  that  Douglas  Fairbanks,  Jr.,  was 
playing  the  role  done  in  New  York  by 
Glenn  Hunter.  Joan's  whole  soul  was 
stirred,  she  says,  by  his  wonderful  per- 
formance. On  her  way  home,  she 
stopped  and  sent  him  a  wire  to  the 
theater,  just  to  tell  him  how  great  she 
thought  he  was.  The  next  day  Douglas 
called  up  and  invited  her  to  dinner. 
She  went.  In  June,  1929,  they  were 
married  in  New  York. 

HAROLD  LLOYD  was  looking  for  a 
new  leading  lady.  Bebe  Daniels, 
who  had  filled  that  role  for  several 
years,  had  left  to  go  to  Cecil  De  Mille. 
Thinking  it  over,  Harold  decided  that 
he  wanted  a  blond  who  was  as  oppo- 
site to  Bebe  as  he  could  possibly  get, 
so  that  the  new  individuality  would 
stand  out.  One  night  he  went  to  see 
a  picture  of  Bryant  Washburn's.  Onto 
the  screen  flashed  a  picture  of  a  blond 
who  looked  like  a  big  French  doll.  Har- 
old let  out  a  gasp  and  whispered  to 
Hal  Roach,  "That's  the  one.  There's 
the  one  I  want  for  a  leading  lady." 

But  it  wasn't  so  simple.  The  title 
sheet  listed  her  as  Mildred  Davis,  but 
energetic  search  produced  no  Mildred 
Davis  in  Hollywood.  A  studio  biography 
revealed  that  she  had  been  born  in  Phila- 
delphia, but  she  wasn't  in  Philadelphia 
either.  At  last,  through  a  newspaper, 
Harold  located  her  in  a  girls'  finishing 
school  in  Tacoma.  She'd  given  up  try- 
ing to  get  into  pictures  and  gone  back 
to  school.  Roach  wired  her,  asking 
her  to  come  down,  and  she  came. 

The  first  meeting  in  this  case  nearly 
ruined  everything.  With  the  picture 
in  his  mind  of  the  lovely  blond  doll 
on  the  screen,  Harold  waited  for  her 
to  come  into  his  office.  Imagine  his 
surprise  and  embarrassment,  when  in 
came  a  young  lady  wearing  a  large 
(Continued  on  page  109) 


y 


.ou  can  keep  your 
skin  lovely  just  as  oil 

Hollywood  Actresses  do 


Joan  Crawford,  delightful 
Metro-Goldwyn-Mayer  star: 
"Keeps  my  skin  so  smooth." 


Dorothy  Mackaill,  lovely 
and  talented  star:  "/  am  cer- 
tainly devoted  to  it." 


98%  of  the  lovely  complexions 
you  see  on  the  screen  are  cared 
for  with  -L,ux   loilet  Soap  •  •  • 

NOBODY  knows  better  than  the  world's 
popular  screen  stars  the  importance 
of  petal-smooth  skin.  As  Raoul  Walsh,  fa- 
mous Fox  director,  says:  "Smooth  skin  is 
the  most  potent  charm  a  girl  can  have — and 
an  essential  for  stardom  on  the  screen,  with 
its  many  revealing  close-ups." 

Of  the  521  important  actresses  in  Holly- 
wood, including  all  stars,  511  use  Lux  Toilet 
Soap,  not  only  at  home,  but  on  location. 
For  at  their  request  it  has  been  made  the 
official  soap  in  all  the  great  film  studios. 

The  loveliest  Broadway  stage  stars,  too, 
are  enthusiastic  about  Lux  Toilet  Soap.  And 
even  in  Europe  the  screen  stars  have  adopted 
it — in  France,  in  England,  and  in  Germany. 

You  will  want  to  try  this  fragrant  white 
soap.  You'll  be  delighted  with  its  quick,  gen- 
erous lather,  with  the  smooth  softness  it 
gives  your  skin.   Order  several  cakes  today. 


Bebe  Daniels,  charming  Radio 
Pictures'  star:  "  .  .  .  a  great  help 
in  keeping  skin  lovely." 


Marion  Davies,  fascinating 
Metro-Goldwyn-Mayer  star:  "It 
is  wonderful  for  smooth   skin." 


Evelyn  Brent,  intriguingly 
beautiful  star:  "I  always  use  Lux 
Toilet  Soap  to  guard  my  skin." 


Lux  Toilet  Soap 

First  Sweeping  Hollywood —  then  Broadway 
— and  now  the  European  Capitals 


IOt 


107 


The  Heart  of  Greta  Garbo 


voice  saying,  "Please  do  not  do  that. 
You  are  hurt,  Mr.  Gordon.  We  are  so 
sorry.  But  if  you  will  be  good  and 
take  care  of  yourself,  we  will  wait  in 
the  picture  for  you.  I,  Garbo,  promise 
you  that." 

Looking  up,  he  saw  Garbo,  wrapped 
in  a  tweed  coat,  smiling  down  at  him. 

Speech  deserted  him.  He  was  nearer 
to  tears  than  he  had  ever  been  since  he 
was  a  kid.  He  lay  back  quietly  and 
from  then  on  he  was  a  model  patient. 
When  discouragement  or  fear  came 
upon  him,  when  he  thought  of  how  the 
hand  of  destiny  had  struck  him  at  the 
one  moment  that  might  spell  disaster, 
he  looked  across  at  a  big  basket  of 
roses  that  stood  beside  his  bed.  They 
had  come  with  only  a  card,  but  on  the 
card  was  the  magic  word,  "Garbo." 

What  he  did  not  know  until  later  was 
that  at  the  studio  Garbo  was  fighting 
in  her  own  peculiar  way  to  keep  the 
promise  she  had  made  him. 

It  may  be  that  Garbo  had  heard  all 


(Continued  from  page  106) 

the  things  he  said  that  day  in  his  de- 
lirium, may  have  looked  into  the  boy's 
heart  and  been  a  little  glad  to  be  the 
ideal  of  such  a  man.  No  one  will  ever 
know  that.  But  surely  admiration  of 
his  courage  and  sympathy  for  his  am- 
bition— things  she  can  always  under- 
stand— had  entered  her  mind.  She  saw 
at  once  what  this  chance  meant  to  him, 
what  a  long  struggle  lay  behind  it. 

IT  had  been  a  long  time  since  Garbo 
had  to  threaten  "I  go  home  now." 
Her  enormous  popularity,  the  broken 
box-office  records  standing  against  her 
name,  had  made  it  easy  for  her  to  have 
things  the  way  she  wanted  them.  What 
Garbo  wants,  she  gets. 

Whether  or  not  she  had  to  threaten, 
she  wanted  Gavin  Gordon  given  his 
chance,  she  wanted  him  to  continue  in 
her  picture.  She  said  so  when  they 
suggested  that  they  could  not  delay 
work,  that  they  must  get  another  lead- 
ing man  at  once. 


"Gavin  Gordon  plays  that  part,"  said 
Garbo. 

Having  settled  that,  she  did  the  fair 
thing  to  the  company.  With  the  di- 
rector she  mapped  out  all  the  scenes  in 
the  picture  in  which  he  did  not  appear — 
the  scenes  she  had  alone,  or  with  Lewis 
Stone,  who  plays  the  other  man.  At 
no  small  inconvenience  to  herself,  she 
shot  any  part  of  the  picture  that  the 
director  thought  best.  When  Gavin 
Gordon  was  able  to  be  up,  they  did  the 
scenes  in  which  he  plays  an  old  man, 
where  he  could  bend  over  and  ease  his 
hurt. 

"And  she  helped  me  through  those 
scenes  so  wonderfully,"  he  said.  "She 
didn't  think  of  herself  and  how  it  would 
be  for  her.  She  was  so  kindly,  she  al- 
ways made  it  possible  for  me  to  do  each 
scene.  I  have  only  seen  her  that  one 
time  outside  the  studio.  But  I  know 
that  Greta  Garbo  is  a  great  woman, 
and  the  kindest  woman  in  the  world." 

Maybe  he  is  right. 


The  Stars  Own  Favorite  Stars 


see  me  cry!    Still,  that's  how  she  hits 
me." 

Billie   Dove 

GRETA  GARBO,  thinks  Billie  Dove, 
is  one  of  the  greatest  if  not  the 
greatest  Hying  film  actress.  And  in 
any  case,  she  is  her  favorite. 

"I  never  miss  a  Garbo  picture,"  said 
Billie  enthusiastically. 

"She  is  so  clever  as  an  actress,  be- 
sides possessing  such  infinite  charm. 
I  think  actresses  should  study  charm 
as  well  as  acting  talent." 

Ann   Harding 

ANN  HARDING  prefers  Greta 
Garbo  to  anybody  on  the  screen. 
Asked  why,  she  answered,  "Oh,  every- 
thing!" 

Then  she  expanded: 

"I  admire  her  artistry,  her  inde- 
structible poise,  her  personality.  For 
me  she  creates  a  more  perfect  illusion 
than  any  other  screen  player. 

"When  I  go  to  see  a  Garbo  story,  I 
believe  in  the  leading  character  more 
truly  than  when  any  other  actress  fills 
the  leading  role.  I  don't  find  myself 
picking  story  and  direction  to  pieces,  as 
I  often  do  in  other  cases.  The  illusion 
is  complete  for  me,  whether  Garbo  is 
playing  the  embittered  Anna  Christie 
or  the  glamorous  Anna  Karenina." 

Nancy  Carroll 

HERE'S  another  vote  for  Garbo 
from  the  profession — that  of 
Nancy  Carroll. 

But,  unlike  Ann  Harding,  who  likes 
Greta  because  she  seems  entirely  real, 
Nancy  Carroll,  on  the  other  hand,  ad- 
mires her  because  she  is  elusive — un- 
real! Indeed,  the  Garbo  must  be  po- 
sessed  of  the  "infinite  variety"  with 
which  Shakespeare  press-agented  the 
famous  Cleopatra. 

"Greta  Garbo  is  a  superb  actress,' 
says  Nancy.     "This,  with  her  mysteri- 

108 


{Continued  from  page  37) 

ous  fascination,  makes  her  one  of  the 
most  intriguing  personalities  of  the 
screen.  Every  time  I  see  her  she  re- 
veals a  different  characterization,  and 
always  a  vivid  one.  Perhaps  I  like  her 
because  she  doesn't  seem  quite  real." 

Ruth  Chatterton 

THOUGH    Emil    Jannings    has    left 
the     country,     he     remains     Ruth 
Chatterton's  ideal. 


"I  admire  him  for  his  great  artistry. 
I  learn  something  every  time  I  see  him 
on  the  screen,"  said  Miss  Chatterton. 
"He  has  deep  sincerity.  He  plans  his 
characterizations  as  an  engineer  pre- 
pares the  blueprints  for  a  tremendous 
architectural  achievement.  Because  he 
believes  in  what  he  is  doing,  he  never 
fails  to  convince  his  audiences,  and  he 
gives  them  genuine,  intelligent  enter- 
tainment." 


Joan  Crawford  is  showing  a  brand  new  microphone  to  Governor  Clyde  Reed  of 
Kansas,  a  visitor  at  the  Metro-Goldwyn  Culver  City  Studios. 


The    New   Movie    Magazine 


How  They  Met 

(Continued  from  page  107) 

black  hat  heavily  weighted  with  ostrich 
plumes,  a  long,  black  fur  coat,  and 
high-laced  black  shoes,  with  enormous 
French  heels.  The  great  comedian 
gasped,  hedged,  and  almost  told  her 
to  go  on  away,  before  the  girl  broke 
down  and  confessed.  While  she  had 
been  in  Hollywood,  she'd  always  been 
turned  down  because  she  was  too  young 
and  too  little.  So  when  she  came  to 
meet  Harold,  she'd  sneaked  out  with- 
out her  mother's  knowledge  and  rented 
a  costume  to  overcome  these  difficulties. 
That  tickled  Harold,  and  he  gave  her 
a  contract. 

It  ended  only  when  Mildred  left  the 
screen  to  become   Mrs.   Harold    Lloyd. 

A  FOOTBALL  hero  and  the  queen  of 
the  campus. 
They  met  during  their  junior  year. 
Johnny  Mack  Brown,  star  halfback  of 
the  Alabama  team,  and  Connie  Foster, 
who  was  conceded  to  be  the  prettiest 
and  most  popular  girl  in  school.  They 
became  engaged  and,  unlike  a  lot  of 
college  romances,  it  lasted.  When  he 
graduated  from  school,  Johnny  took  a 
job  as  assistant  coach  so  they  could  get 
married.  In  the"  meantime,  Johnny 
had  been  out  to  California  to  play 
Stanford  in  the  New  Year's  Day  game. 
Some  Hollywood  producer  had  seen 
him  and  he  eventually  was  asked  to 
come  back  and  try  for  pictures.  Of 
course,  he  brought  his  wife  along — 
and  they  seem  slated  to  live  happy  ever 
after. 

In  the  old  days,  when  they  were  both 
struggling  young  extras,  and  later 
when  they  were  just  beginning  to  get 
a  few  parts  on  the  screen,  Dick  Arlen 
and  Charlie  Farrell  lived  together  at 
the  Hollywood  Athletic  Club.  They 
palled  around  together  most  of  the 
time,  but  didn't  often  go  out  with  girls 
together.  While  they  were  on  location 
at  Catalina  Island  in  "Old  Ironsides" — 
in  which  Farrell  had  his  first  lead  and 
Dick  was  still  playing  bits — Farrell 
told  Dick  about  a  girl  he'd  met.  "Her 
name  is  Jobyna  Ralaton,  and  she's  a 
peach.  I'm  not  in  love  with  her, 
but  I  sure  like  her.  She's  so  regular — 
lots  of  fun  and  pretty  and  everything. 
I  want  you  to  meet  her." 

Dick  said  he  didn't  want  to  meet 
her.  He  knew  too  many  girls  already. 
Besides,  it  sounded  to  him  like  Charlie 
really  thought  pretty  well  of  this  girl 
and  he  didn't  want  to  cut  in.  Charlie 
kept  on  talking,  and  Dick  kept  on  re- 
fusing. Finally  one  night,  without  tell- 
ing Dick,  Charlie  invited  Joby  to  din- 
ner at  the  Club.  When  the  two  boys 
went  down,  she  was  waiting,  and  Dick 
found  himself  introduced  and  sitting 
opposite  her  before  he  could  protest. 

That  night  started  a  real  friendship. 
Joby  became  the  pal  not  only  of  Dick 
and  Charlie,  but  of  Buddy  Rogers  and 
Gary  Cooper,  too.  When  the  smoke 
cleared  away,  however,  it  was  found 
that  Dick  and  Joby  were  engaged — 
and  while  they  were  playing  together 
in  "Wings"  they  were  married. 

"THE  first  time  Jack  Gilbert  and  Ina 
-*-     Claire    met,   they    didn't    know    it 
had   happened. 

For  a  long  time,  Jack  had  admired 
Ina  Claire  more  than  any  other  actress 
on  the  stage.  For  an  equally  long  time 
Ina  Claire  had  thought  Jack  Gilbert  the 
best  and  most  attractive  of  the  screen 
actors. 

(Continued  on  page  110) 


the  linit  beauty  bath  test  that  in- 
stantly proves  you  can  have  a  skin 

soft  as  velvet! 


H. 


ere  is  a  test 
that  is  a  pleasure 
to  make  and  will 
prove  to  you  that 
your  skin  can  feel 
soft  as  a  baby's. 
Swish  a  fewhand- 
fuls  of  Linit  in  a 
basin  of  warm 
water;  then  wash 
your  hands,  using 
a  little  soap.  Im- 
mediately after 
drying,  your  skin 
feels  soft  and 
smooth  as  rare 
velvet. 

This  test  is  so 
convincing  that 
you  will  want  to 

use  Linit  in  your  bath.  Merely  dissolve 
half  a  package  or  more  of  Linit  in 
your  tub  and  bathe  as  usual.  A  bath 
in  the  richest  cream  couldn't  be  more 


H 


Ab> 


t 


LINIT  is  sold 


delightful  or  have 
such  effective  and 
immediate  results. 
Starch  from 
corn  is  the  main 
ingredient  of 
Linit.  Being  a 
vegetable  prod- 
uct, Linit  is  free 
from  any  mineral 
properties  that 
might  injure  the 
skin  and  cause 
irritation.  In  fact, 
thesoothing  purity 
of  starch  from 
corn  is  regarded 
so  highly  by  doc- 
tors, that  they  gen- 
erally recommend 

it  for  the  tender  skin  of  young  babies. 
Linit  is  so  economical  that  at  least 

you  should  give  it  a  trial.  Let  results 

convince  you. 


by  your  GROCER 


■ 


the  bathway  to  a  soft,  smooth  skin 


109 


The   New   Movie   Magazine 


Color  Magic  for  the  Lips! 

How  innocent  Tangee  looks  in  its  modest  gun- 
metal  case!  But  touch  it  to  your  lips,  you 
Blonde  one  of  great  fame  . . .  you  Beauty  of  the 
titian  hair  .  .  .  you  sparkling- eyed  Brunette! 

For  this  is  the  magic  of  Tangee ...  it  changes 
when  applied  to  your  lips  and  blends  perfectly 
with  your  own  natural  coloring,  no  matter 
what  your  complexion. 

Tangee  never  gives  an  artificial,  greasy,  make- 
up look.  It  never  rubs  off.  And  Tangee  has  a 
solidified  cream  base,  one  that  not  only  beauti- 
fies but  actually  soothes,  heals  and  protects. 

Tangee  Lipstick,  $1.  The  same  marvelous  color 
principle  in  Rouge  Compact,  75^  .  .  .  Crime 
Rouge,  $1.  Face  Powder,  blended  to  match  the 
natural  skin  tones,  $1.  Night  Cream,  both 
cleanses  and  nourishes,  $1.  Day  Cream,  protects 
the  skin,  $1.  Cosmetic,  a  new  "mascara,"  will 
not  smart,  $1. 


SEND  20(2-    FOR   TANGEE    BEAUTY  SET 

(Six  items  in  miniature  and  "The  Art  of  Make-Up. ") 

The  George  W.  Luft  Co.,  Dept.  TM-7 
417  Fifth  Avenue  New  York 

Name. 

Address 


How  They  Met 

(Continued  from  page  109) 


Shortly  after  Miss  Claire  arrived  in 
Hollywood  she  attended  a  party  at  the 
home  of  the  Barney  Glazers.  Jack  Gil- 
bert also  attended.  The  next  day  some- 
body said  to  Jack,  "How  did  you  like 
Ina  Claire?"  Jack  said,  "I've  never  met 
her."  When  told  that  he  had,  but  in 
the  crowd  and  confusion  hadn't  recog- 
nized her  he  had  a  fit. 

Somebody  asked  Ina  Claire,  "Well, 
do  you  think  Jack  Gilbert  is  as  attrac- 
tive  off   the    screen   as   on?" 

"I  haven't  seen  him  off  the  screen," 
said  Miss  Claire. 

"You  have  too,"   she   was   informed. 

The  following  day,  however,  they 
met  again  at  a  garden  party  at  Frances 
Marion's — and  three  weeks  later  in  Las 
Vegas,  Nevada,  they  were  married. 

NANCY  CARROLL'S  husband  fell  in 
love  with  her  picture. 

Jack  Kirkland,  now  a  well-known 
playwright,  was  a  reporter  on  The  New 
York  Daily  News,  and  editor  of  the 
Ocean  Edition  of  The  Chicago  Tribune. 
Sitting  at  his  desk  one  day,  turning 
over  the  pages  of  the  latest  edition,  he 
saw  the  picture  of  a  pretty  show  girl, 
and  under  it  the  title,  "The  Cherub  of 
Broadway."  It  turned  out  that  her 
name  was  Nancy  Carroll. 

Jack  knew  he  was  sunk.  He  started 
a  campaign  to  meet  her.  Finally  he 
discovered  that  she  had  once  attended 
the  Katherine  Gibbs  Secretarial  School. 
So  he  asked  Gordon  Gibbs,  a  friend  of 
his,  to  arrange  a  meeting.  Gibbs  gave 
a  party  and  invited  Nancy  Carroll,  just 
so  Jack  Kirkland  could  meet  her.  He 
did — and  it  was  worse  than  ever.  After 
a  whirlwind  courtship,  they  were  mar- 
ried just  before  Nancy  joined  the 
Passing  Show  in  1924. 


A1 


T  least  one  war  romance. 
In  the  office  of  a  well-known  pub- 


lisher in  Chicago  was  a  pretty,  dark- 
eyed  secretary,  who  had  just  graduated 
from  Northwestern  University.  Two 
or  three  times,  a  tall,  handsome,  blond 
actor  came  into  the  office  to  see  the 
publisher.  The  quiet  secretary  smiled 
at  him — and  he  began  coming  oftener 
than  there  seemed  to  be  any  reason 
4or  an  actor  to  see  a  publisher. 

Finally  one  day  he  invited  her  to 
come  to  the  theater  and  see  his  show. 
She  went.  She  went  again.  They 
met — often,  but  very  quietly.  Then  the 
war  came  and  the  actor  enlisted.  He 
came,  in  his  uniform,  to  bid  her  good- 
bye. But  before  he  left,  they  were 
engaged — and  as  soon  as  he  came  back, 
they  were  married. 

The  marriage  license  read,  "Conrad 
Nagel  and  Ruth  Helms." 

ONE  day — probably  it  was  raining 
or  something  and  she  was  bored — 
Ruth  Chatterton  decided  that  she 
wanted  to  do  a  musical  comedy.  She'd 
been  successful  and  idolized  on  Broad- 
way in  everything  else,  and  it  would 
be  something  new,  something  she'd 
never  done.  Ruth  is  like  that.  Haz- 
ards appeal  to  her. 

It  didn't  take  her  long  to  convince 
Henry  Miller  and  the  Shuberts  and 
they  started  plans  to  star  her  in  "The 
Magnolia  Lady."  Then  came  the  prob- 
lem of  a  leading  man.  Finally,  the 
producers  decided  that  the  only  man  to 
play  it  was  Ralph  Forbes,  a  young  and 
handsome  English  actor  who  had  ccme 
over  from  London  to  play  the  lead  in 
"Havoc."  But  Mr.  Forbes  laughed  at 
them.  He  wasn't  a  musical  comedy 
actor.  He  could,  yes,  but  he  didn't  in- 
tend to.  They  went  disconsolately  to 
Miss    Chatterton. 

She   said,  "Send  him  to  me." 
Now  it  happened  that  Mr.  Forbes  had 
wanted  to  meet  Miss  Chatterton — who 


Presenting  our  old  friend,  Bill   Hart,  as  he   is  today.     The  visitor  in   sombrero  is 

Charles  Mack,  of  Moran  and  Mack,  "The  Two  Black  Crows."    Mr.   Mack's   estate 

is  close  by  that  of  Bill  Hart,  at  Newhall,  Calif. 


110 


The   New   Movie   Magazine 


hasn't,  for  that  matter? — and  so,  still 
firm  in  his  resolution,  he  went  to  tea 
at  her  New  York  apartment.  In  ten 
minutes  he  told  her  he  thought  it  would 
be  a  great  experience  for  him  to  play 
in  musical  comedy  and  he'd  love  to  do 
the  part.  In  two  hours,  he  had  told 
her  that  he  loved  her.  In  ten  days  they 
were  engaged.  In  ten  weeks,  they  were 
married. 

These  Englishmen.     They're  so  slow. 

JUST  the  opposite  was  the  romance 
of  Irving  Thalberg  and  Norma 
Shearer. 

For  five  years  they  knew  each  other 
well,  were  in  almost  daily  contact  in 
their  business  and  social  relations, 
moved  in  the  same  social  circle — and 
then   one   evening   fell  madly    in    love. 

While  Norma  was  in  New  York  play- 
ing her  first  pictures,  she  first  heard 
of  Irving  Thalberg.  In  fact,  she  re- 
ceived an  offer  from  Universal  to  join 
that  company,  and  it  was  signed  by  the 
general  manager,  whose  name  was 
Irving  Thalberg.  She  didn't  take  the 
offer — and  that  was   that. 

Later,  she  did  sign  with  the  Louis 
B.  Mayer  Company.  On  her  first  visit 
to  the  studio,  she  introduced  herself  to 
a  slim,  good-looking  young  man  in  the 
reception  room  and  asked  him  to  show 
her  the  general  manager's  office.  He 
ushered  her  in — and  then  sat  down  be- 
hind the  desk.  Later,  she  confessed 
that  she  thought  he  was  the  office  boy, 
he  looked  so  young.  That  was  her  first 
meeting. 

For  the  following  two  years,  they 
worked  on  the  same  lot  and  Miss 
Shearer,  as  an  ambitious  young  actress 
and  Thalberg  as  a  progressive  execu- 
tive, saw  each  other  frequently.  After 
that,  she  was  starred  for  two  years 
and  he  was  in  direct  charge  of  her  pic- 
tures. They  had  many  consultations 
about  stories,  cast,  directors,  etc.  But 
they  were  just  friends.  As  a  matter 
of  fact,  they  still  called  each  other  Miss 
Shearer  and  Mr.  Thalberg. 

A  year  later,  Mr.  Thalberg's  secre- 
tary called  Miss  Shearer  one  day  and 
said  that  Mr.  Thalberg  would  like  to 
have  her  attend  a  picture  opening  with 
him  that  night.  She  did.  On  the  way 
home,  he  called  her  Norma.  And  she 
fell  in  love  with  him. 

The  courtship  ended  when  they  were 
married   in   September,   1927. 

BEN  LYON  and  Bebe  Daniels  aren't 
married  yet — but  they  soon  will 
be,  so  we'll  include  them. 

When  they  first  met,  they  took  a 
positive  dislike  to  each  other.  Which  is 
funnier  than  ever  because  nobody  ever 
disliked  Bebe  and  very  few  people 
don't  find  Ben  attractive.  They  were 
introduced  at  a  party  Bob  Kane  gave 
in  New  York.  Bebe  thought  Ben  was 
conceited  and  upstage,  and  Ben  re- 
turned the  compliment. 

They  didn't  see  each  other  again  for 
several  years.  Then  they  met  on  a 
rainy  Sunday  afternoon  at  Mae  Sun- 
day's and  played  bridge.  Both  were 
amazed  to  find  how  mistaken  they  had 
been.  To  himself,  Ben  said,  "I  must 
have  been  crazy.  Why,  she's  lovely. 
And  so  gracious  and  sweet."  Bebe  said, 
"This  is  a  charming  boy — so  sincere 
and  simple.  I  like  him.  I  was  certainly 
mistaken  that   first  time   I  met  him." 

That  afternoon  Ben  asked  her  to  go 
somewhere  with  him  the  following  eve- 
ning. That  week-end  she  was  going  on 
a  big  party  to  Agua  Caliente.  He  fol- 
lowed her  down  there.  And  in  a  few 
weeks,  they  were  engaged. 


Hxivorite 

of  famous 
?llm  beauties.. 

fcettqJW 

powder  purrs 

XjLoW  they  sing  the  praises 
of  Betty  Lou— these  cap- 
tivating stars  of  screen- 
land!  Nothing  but  the 
finest  may  touch  their 
delicately  priceless  com- 
plexions .  . .  And  so  they 
use  only  Betty  Lou 
Powder  Puffs— silky-soft, 
caressingly  fine! 


says,  —  "I  always  keep 
Betty  Lou  nearathatuL 
Its  smoothness  and  silk- 
iness  are  remarkable!' 


aO    3^_  — -  "I 


"etsh 


°oti 


sCe, 


ne'- 


111 


The   New  Movie   Magazine 


^  v_^  he    Clyriceless 

TAG 

When  in  search  of  value  buy  "Ash's" 
and  "Deere"  cosmetics— the  only  tag 
you  need  look  for  is  the  buff  colored 
guarantee  slip  found  in  every  case — 
it's  priceless.  "Deere"  cake,  loose, 
rouge  powder  and  lip  salve  compacts 
all  may  be  immediately  recognized  by 
this  slip.  "Ash's"  lipsticks  and  eye- 
brow pencils  are  equally  easy  to  iden- 
tify by  looking  for  the  name  stamped 
in  script  on  the  cases. 

When  you  see  either  trade  mark  you 
know  at  once  that  you  are  purchasing 
an  absolutely  perfect  compact  or  lip- 
stick, that  the  ingredients  are  the 
purest  obtainable  and  that  the  price 
represents  the  most  amazing  values 
imaginable. 

Most  every  chain  store  carries  the 
smart  beauty  aids,  pictured,  in  dis- 
tinctive red  and  green  cases.  There  are 
other  equally  attractive  "Ash's"  and 
"Deere"  cosmetics  too  —  priced  from 
ten  cents  to  one  dollar. 

For    Sale    at    all 
Chain     Stores 

The  Reich-Ash  Corp. 

307  FIFTH  AVENUE,  NEW  YORK 


The   Low -Down    on    Holly 
wood  High  Life 


{Continued  from  page  43) 


I  CAN  remember  the  first  butler  in 
Hollywood — rather  in  Beverly  Hills, 
since  that  is  the  real  home  of  stars 
and  not  Hollywood  at  all.  He  was  en- 
gaged by  Charles  Ray  along  with  seven 
other  flunkeys.  Everyone  hooted,  for 
those  were  the  days  when  men  were 
men  and  helped  themselves.  People 
would  ring  Charlie's  bell  and  then  duck 
in  the  agapanthus  just  to  see  the  butler 
and  to  give  him  what  we  now  politely 
call  the  "bird."  He  was  of  a  terrify- 
ing British  deportment  and  little  by 
little ,  everyone  came  under  his  spell 
and  took  to  imitating  his  English.  That 
was  the  beginning  of  head  tones  in 
Hollywood.  Now  you  can't  tell  hosts 
from  butlers,  we  all  speak  such  good 
English. 

Wally  Beery  is  another  elegant  whom 
Thyra  should  have  met.  The  dexterity 
with  which  he  handles  peas  on  a  knife 
has  caused  duchesses  to  raise  eyebrows 
so  high  that  their  coronets  toppled 
off  backward.  Of  course,  he's  a  charla- 
tan, as  are  all  persons  who  seek  to 
impress  with  society  manners.  The 
knife,  of  his  own  invention,  has  a  slot 
the  length  of  it;  this  enables  the  peas 
to  hold  their  balance.  In  the  bluff  sin- 
cerity of  his  home  Wally  uses  a  fork; 
but  he  always  carries  the  knife  to  ban- 
quets for  visiting  celebrities. 

MRS.  WINSLOW  was  not  invited  to 
Bull  Montana's  wedding.  I  hap- 
pen to  know  she  was  not.  It  was  very 
exclusive.  It  differed  from  the  nuptials 
of  the  nouveaux  who  broadcast  invita- 
tions by  radio.  I  recently  received  an 
expensively  engraved  bid  to  the  wed- 
ding of  two  celebrities  whom  I  never 
had  met.  I  didn't  go.  Many  others 
likewise  failed.  The  house  was  so  poor, 
in  fact,  that  the  church  doors  had  to 
be  thrown  open  to  the  public  in  order 
to  make  a  boxoffice   showing. 

Bull's  wedding  transpired  in  his  casa 
in  Glendale.  Gifts  and  telegrams  were 
spread  out  on  a  bed  upstairs.  They 
came  from  Doug  Fairbanks,  Jack 
Dempsey,  Estelle  Taylor,  Mabel  Nor- 
mand — everyone  who  can  be  counted  a 
person— I  don't  recall  but  it  seems  to 
me  Queen  Marie  sent  something  she 
made  herself. 

It  was  a  lovely  wedding,  best  de- 
scribed in  the  succinct  Italian  of  Signor 
Montana  himself:  "Sure,  sure,  sure, 
everything  swell,  Herb.  Nobody  fight, 
nobody  get  sick." 

Bull  wore  the  conventional  checks 
with  red  cravat  caught  up  by  a  dia- 
mond horseshoe,  a  family  heirloom 
which  Bull  got  from  a  burglar  friend  for 
a  song  in  his  barroom  bouncing  days. 

Bull  and  the  signora  visited  me  at 
my  hacienda  near  Santa  Barbara  on 
their  honeymoon  trip  to  Canada.  They 
visited  me  again  on  return.  Bull  was  a 
bit  upset,  as  bridegrooms  so  often  are. 
He  said  the  madame  wanted  to  make  a 


gentleman  of  him.  Wha'th'ell !  She 
wanted  him  to  take  a  bath  every  day. 
His  father  in  Italy  never  took  a  bath 
in  his  life  and  he  is  eighty  years  old. 
She  also  insisted  he  shove  the  spaghetti 
to  her  before  helping  himself.  Bull 
wanted  to  know  how  long  she  was  stay- 
ing. He  felt  the  fall  guy,  the  sap,  get- 
ting married  to  such  an  exotic.  Like 
Vasquez,  he  was  for  going  through  the 
panes  head  first.  But  instead  he  has 
bowed  to  modern  convention  and  gone 
through  with  marriage.  Another  testi- 
monial to  the  social  sportsmanship  of 
Hollywood,  though,  alas,  not  to  its  early 
traditions. 


I  HAVE  saved  to  the  last,  true  orator 
I  am,  the  clinching  argument  for 
Hollywood's  social  integrity.  Permit  me 
to  present  Madam  Aileen  Pringle  in 
the  person  not  the  picture.  She  is  to 
Hollywood  society  what  Leo,  the  lion, 
is  to  Metro-Goldwyn  Mayer.  The  trade- 
mark, the  pillar,  the  very  cornerstone. 
The  integrity  of  Hollywood's  brilliance 
rests  on  her.  She  is  the  brow,  let  the 
rest  be  what  they  may.  The  intelligent- 
sia of  the  world  bent  on  a  Hollywood 
holiday  clusters  to  her  cote  as  the  bees 
to  the  flower,  the  birds  to  the  tree,  the 
flies  to  the  keg.  I  mean  she's  IT  with- 
out help  from  Paul  Whiteman's  band, 
Paul  Howard's  nursery,  or  Europe's 
hungry  defunct  majesties. 

You  shall  know  her  as  Pringie.  She 
will  apprize  you  at  once  that  her  hair 
is  colored,  that  at  birth  she  was  the 
most  misshapen  mess  ever  handed  a 
horrified  mother,  that  her  god  is  Julie, 
who  happens  to  be  her  mother  and  who 
can  work  necromancy  with  old  Basque 
recipes  as  she  did  with  beauty  recipes 
in  recreating  Pringle,  that  she  is  so 
near-sighted  she  waves  at  everyone  for 
fear  of  snubbing  a  friend  and  so  makes 
many  strange  acquaintances,  that  she 
has  a  circle  of  loyal  courtiers  on  whom 
she  bestows  the  same  equality  of  affec- 
tion and  solicitude  she  does  on  her  chow 
dogs. 

All  this  you  learn  instantly  that  you 
may  feel  at  home  or  grope  for  your 
galoshes.  Everything  is  all  right  with 
Pringie,  so  long  as  you  don't  bore  her. 
If  you  haven't  wit  or  humor,  or  the 
appreciation  of  same,  I  advise  you  do  a 
Vasquez  through  the  window  into  the 
gulch  below.  Several  have  made  a  clean 
getaway  that  way.  But  I  can't  be  re- 
sponsible for  punctures  in  the  pan- 
taloons. 

PRINGLE  is  a  show  in  one — like  Chic 
Sale.  In  the  loveliest  English  you 
ever  heard  since  your  presentation  to 
Queen  Mary,  she  recounts  Hollywood 
episodes  more  graphically  than  the 
Specialist.  She  will  tell  you  that  a  cer- 
tain little  Yiddish  producer  has  the 
greatest    picture    mind    she    ever    en- 


Do  you  read  HERB  HOWE  in  NEW  MOVIE  every  month  ? 
O.  O.  Mclntyre,  the  famous  columnist,  says  of  Mr.  Howe:  "Herb  Howe, 
the  Hollywood  chronicler,  knows  every  motion  picture  star  by  first  name." 


112 


The    New   Movie    Magazine 


countered,  that  another  power  is  the 
greatest  so-and-so  that  ever  bluffed  a 
naive  world,  that  a  touted  author  has 
the  inferiority  complex  so  bad  he  snarls 
out  of  fear  and  that  a  great  lover  of 
the  screen  after  writhing  with  her  on 
the  tiger  skin  leaned  close  and  panted, 
"We're  opening  our  new  church  next 
Sunday  and  would  like  for  you  to  at- 
tend?" 

Pringie's  Spanish  castle  clutches  the 
rim  of  Santa  Monica  canyon  where  it 
may  enjoy  each  evening  the  suicide 
of  the  sun  as  it  plunges  into  the  Pacific, 
bloodying  sky  and  water.  I  particularly 
like  the  cozy  card  room  with  modern 
furniture  in  bright  red  leather.  On  the 
wall  is  an  etching  of  a  popular  sash- 
weight  murder  and  another,  the  title  of 
which  I  forget  but  the  significance  of 
which  is  dead  men  tell  no  tales.  There 
are  also  Japanese  prints  and  glowing 
lamps  on  low  tables.  It  is  a  room  of 
revelation  for  kindred  spirits  after 
dinner. 

The  dinner.  Pringie  has  a  new  set  of 
servants  every  other  month.  I  imagine 
she  is  connected  with  the  League  of 
Nations,  because  one  month  they  are 
Slovak,  the  next  Italian,  then  Afric, 
Chinese,  Hawaiian,  bounding  Arab. 
Each  set  is  taught  the  recipes  of  Julie 
and  so  no  matter  the  nationality  the 
food  is  as  exciting  as  the  conversation, 
which  is  supplied  almost  wholly  by  the 
hostess. 

ONE  dinner  for  instance:  The  butler 
this  time  is  Italian  with  side- 
burns. The  guests  are  male,  save  for 
Madeline  Hurlock.  Pringie  stands  at 
the  head  of  the  table  carving  a  turkey. 
I  sit  next  Pringie.  It  is  like  a  ringside 
seat  at  a  Mexican  revolution.  The 
butler  mutters.  Pringie  mutters  louder. 
I  try  to  remember  where  the  chapeau 
is.  The  butler  enters  operatically  flour- 
ishing a  knife.  Pringie  with  a  shout 
abandons  the  bird's  remains  and  bounds 
upstairs.  The  butler  pursues.  There 
is  a  volley  of  verbs.  We  all  go  on  eat- 
ing the  bird  with  perfect  social 
equanimity,  like  doughboys  in  trenches. 
Miss  Hurlock  is  guiding  the  conversa- 
tion gently,  as  I  recall,  while  Pringie 
is  being  threatened  through  the  barred 
door  of  her  boudoir.  Eventually  the 
frustrated  butler  appears  on  the  bal- 
cony and  commands  attention.  "Listen!" 
he  yelps.  "You  so-and-so  movie  stars. 
I  don't  give  a — bad  word — for  any  of 
you!  As  for  you,  Matt  Moore,  you  big 
loafer  you've  been  eating  here  regu- 
larly and  never  give  me  a  dollar.  And 
you,  Herb  Howe,  if  you  could  write  like 
you  can  eat.  .  .  ." 

Pringie,  the  perfect  hostess,  projects 
courageously  at  this  point  and  shrieks, 
"Oh  sing  II  Trovatore,  will  you?  .  .  . 
You  mean  horse!" 

The  butler  looks  that.  He  considers 
singing,  too,  for  he  has  been  taking 
vocal  like  all  of  us  in  Hollywood.  But 
in  the  act  of  inflating  the  diaphragm 
he  notes  we  are  going  on  with  the  dis- 
memberment of  the  turkey  with  that 
fine  aplomb  that  betokens  people  of  gen- 
tility. Enraged  he  stamps  down  the 
stairs  snorting,  "I'm  through.  I  wouldn't 
yes  nobody.  Least  of  all  you  movie 
stars.    Drtybsds  and  snsfbchs!" 

No  one  flinched,  no  one  lost  hold  the 
wing,  the  leg,  the  neck  of  the  turkey. 
Presently  Pringie  reappeared,  her  nose 
repowdered,  and  descended  the  stairs. 
She  and  Miss  Hurlock  served  the  rest 
of  the  dinner  as  though  nothing  unto- 
ward had  occurred.  Show  me  a  Vandei-- 
bilt  or  Mountbatten  who  has  such 
savoir  faire,  such  grace  under  pressure. 


/ 


■,yi 


)  P.  Lorillard  Co. 


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Have  you  seen  them  .  .  .  these  delightfully 

smart  new  packages  of  fifty  "O.   G.s"  •  .  . 

covered  with  velvety  velour  paper,   in  the 

soft  color  of  old  gold?  You'll  find  them  most 

enticing  boxes  to  pass  to  your  guests  ...  to 

use  as  bridge  prizes  ...  or  just  to  keep  on 

your  own  dressing  table.   And  they  cost  no 

more  than  the  regtdar  "fifties"  tin. 

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NOT 


COUGH        IN 


CARLOAD 


STATEMENT    OF     THE    OWNERSHIP,    MANAGEMENT,    CIRCULATION,     ETC.,     RE- 
QUIRED   BY   THE   ACT    OF   CONGRESS    OF    AUGUST   24,    1912 

Of  THE  NEW  MOVIE  MAGAZINE,  published  monthly  at  Jamaica,  L.   I.,  N.    X.,   for  April   1,   1930. 
STATE  OF  NEW  YORK         1 
COUNTY  OF  NEW  YORK      I  SS- 

Before  me.  a  Notary  Public,  in  and  for  the  State  and  County  aforesaid,  personally  appeared  J.  E. 
Flynn,  who,  having  been  duly  sworn  according  to  law  deposes  and  says  that  he  is  the  Business  Manager 
of  the  NEW  MOVIE  MAGAZINE  and  that  the  following  is.  to  the  best  of  his  knowledge  anil  belief,  a 
true  statement  of  the  ownership,  management,  etc..  of  the  aforesaid  publication  for  the  date  shown  in  the 
above  caption,  required  by  the  Act  of  August  24,  1912,  embodied  in  Section  411,  Postal  Laws  and  Regula- 
tions,  to  wit: 

1.  That  the  names    and  addresses    of  the  publisher,   editor,    managing   editor,    and  business    manager     are: 
Publisher,    Tower   Magazines,    Inc.,    55    Fifth    Ave..    New    York,    N.    Y. ;    Editor,    Hugh    Weir.    55    Fifth 

Ave..    New    York,    N.    Y. ;    Managing    Editor,    Frederick    James    Smith.    55    Fifth    Ave.,    New    York,    N.    Y. ; 
Business  Manager,   J.  E.   Flynn.    35  Fifth  Ave.,  New  York.  N.  Y. 

2.  That  the  owner  is:  Tower  Magazines,  Inc.,  55  Fifth  Ave..  New  York.  N.  Y.  ;  Hugh  Weir.  55  Fifth 
Ave..  New  York.  N.  Y. ;  Catherine  McNeils,  55  Fifth  Ave.,  New  York,  N.  Y. ;  Marie  L.  Featherstone, 
55  Fifth  Ave.,  New  York.  N.   Y. 

3.  That  the  known  bondholders,  mortgagees,  and  other  security  holders  owning  or  holding  1  per  cent 
or  more  of    total    amount  of   bonds,   mortgages,    or  other  securities    are:      None. 

4.  That  the  two  paragraphs  next  above,  giving  the  names  of  the  owners,  stockholders,  and  security 
holders,  if  any,  contain  not  only  the  list  of  stockholders  and  security  holders  as  they  appear  upon  the 
books  of  the  company,  but  also,  in  cases  where  Hie  stockholder  or  security  holder  appears  upon  Hie  hooks 
of  the  company  as  trustee  or  in  any  other  fiduciary  relation,  the  name  of  the  person  or  corporation  for 
whom  such  trustee  is  acting,  is  given;  also  that  t lie  said  two  paragraphs  contain  statements  embracing 
affiant's  full  knowledge  and  belief  as  to  the  circumstances  and  conditions  under  which  stockholders  and 
security  holders  who  do  not  appear  upon  the  books  of  the  company  as  trustees,  hold  stock  an. I  securities 
in  a  capacity  other  than  that  of  a  bona  tide  owner;  and  this  affiant  lias  no  reason  to  believe  that  any  other 
person,  association,  or  corporation  has  any  interest  direct  or  indirect  in  the  said  stock,  bonds,  or  other 
securities   than  as  so  staled  by  him.  ,,  ,..„.,., 

5.  That  the  average  number  of  copies  of  each  issue  of  this  publication  sold  or  distributed  through 
the  mails  or  otherwise,  to  paid  subscribers  during  the  six  months  preceding  the  date  shown  above  is:  (Tills 
information    is    required    from    daily    publications    only). 

J.    E.    FLYNN. 
Sworn    to  and  subscribed   before   me   this   17th  day  of   Marrh.    lfllin. 

LAUUKTTA    E.    GANLY. 

(My  commission  expires   March    30.   1931.) 


113 


The   New   Movie    Magazine 


ALL  THE 

STRENGTH  OF 
YOUR  SOAP- 


in  fresh  chips  you 
make  as  you 
need  them  .  .  ! 

/^HIP  in  a  minute  as  much  as 
^■^  you  need  of  your  favorite 
soap  bar  .  .  .  make  your  own  fresh 
soap  chips,  that  dissolve  into  in- 
stant, penetrating,  quick-cleansing 
suds.  In  laundry  work,  dish  wash- 
ipg,  house  cleaning  ,  .  .  sometimes 
the  bar  of  soap  is  best,  sometimes 
soap  chips.  With  this  handy  soap 
chipper  you  can  have  either  form 
at  will,  from  the  one  bar  of  soap. 


Send  the  coupon,  with  10Y, 
for  your  ehipperr  You  will 
6nd  it  serving  you  to  good 
purpose  many  times  a  day 


SEND  COUPON 


MISS  MARY  MARSHALL 

233  Broadway,  New  York,  N.  Y. 

Dear  Miss  Marshall: 

I  enclose  10^  in  stamps,  for  which  please 
send  me  the  chipper  that  makes  fresh  soap 
chips  from  any  soap. 

Name 

Street , 

City 

114 


You  Can't  Get  Away  From  It 


(Continued  from  page  48) 


land,  not  to  mention  Europe.  Rudolf, 
the  senior  Schildkraut,  began  with  a 
traveling  repertoire  company,  followed 
that  with  five  years  of  being  buffo  comic 
in  the  Viennese  Opera,  then  for  years 
played  Shakespearean  roles  at  the  Dra- 
matik  Theatre  in  Hamburg.  Max 
Reinhardt  brought  him  to  Berlin  where 
he  played  Ibsen,  Strindberg,  Haupt- 
mann,  and  Shakespeare.  Then  came  a 
call  to  America,  and  a  glorious  career 
here  and  abroad  following. 

His  son,  Josef,  played  with  his  father 
abroad,  and  the  training  of  the  son  has 
always  been  near  the  old  man's  heart. 
Concerning  this  it  is  related  that  dur- 
ing Josef's  early  days  in  films  a  di- 
rector was  having  a  rather  bad  time  of 
it  with  the  cocksure  and  supercilious 
young  fellow.  The  story  is  told  as 
having  happened  with  D.  W.  Griffith 
during  the  making  of  "Orphans  of  the 
Storm."  True  or  false,  it  has  the  point 
in  hand;  papa  came  in  and  watched 
Josef  doing  the  scene.  Whenever  Grif- 
fith would  attempt  to  tell  him  how  it 
should  be  done,  Josef  would  with  ob- 
vious restraint  tell  him  tenderly  that 
he  was  all  wrong.  Finally  papa  could 
stand  it  no  more;  he  took  Josef  to  one 
side,  and  it  is  related  that  he  used 
harsh  words  to  the  son  of  his  heart, 
ending  by  telling  him  that  he  was  a 
very  bad  actor  indeed.  Josef  wept  at 
that  blow  and  listened  to  reason  from 
then  on.  His  later  successes  prompt 
one  to  believe  that  the  hand  of  Papa 
Schildkraut  has  often  been  of  help  in 
this  career. 

ANOTHER  father  and  son  relation  is 
-  that  of  Willie  Collier,  Sr.,  and  his 
son,  Buster  Collier.  Willie  Collier  has 
been  famous  on  the  legitimate  stage  for 
some  thirty  years  or  more,  stretching 


from  the  old  Weber  and  Fields  era  to 
the  present;  he  is  now  working  in  pic- 
tures. Buster,  his  stepson,  has  had  a 
long  screen  career  himself,  and  though 
he  does  not  do  the  sort  of  roles  that 
made  his  parent  famous  he  is  a  celeb- 
rity on  his  own  account.  His  mother 
played  on  the  stage. 

Mae  Busch  came  from  an  Australian 
theatrical  family. 

Francis  X.  Bushman,  Sr.,  and  Jr., 
and  the  daughters  of  Bushman,  all 
worked  in  films.  Bushman,  Sr.,  was 
a  leading  stock  man  in  Columbus,  Ohio, 
before  making  his  sensational  hit  as  the 
screen's  first  heavy  sheik,  co-starring, 
with  Beverly  Bayne.  Lenore  Bushman, 
one  daughter,  has  married  and  retired, 
but  played  in  films  for  a  time.  All  the 
children  played  child  parts  in  their 
father's  films. 

Leila  Hyams  is  a  real  child  of  the 
theater.  Her  mother,  Leila  Mclntyre, 
of  the  team  of  Mclntyre  and  Hyams, 
awaited  her  arrival  back  scenes,  while 
the  father  played  a  single  until  the  big 
event  was  over.  The  fateful  night  that 
little  Leila  was  born,  her  mother  was 
rushed  from  the  theater  across  the 
street  to  a  hospital  in  New  York  City. 
Later  years  found  tiny  Leila  sitting  on 
her  little  red  chair  in  the  wings,  watch- 
ing her  parents  do  their  vaudeville 
skits  and  songs  together.  She  would 
run  out  to  bow  and  take  the  curtain 
with  them.  At  five  she  went  into  the 
act;  at  sixteen  she  decided  to  get  a  job 
on  her  own  and  while  she  could  not 
connect  with  a  theatrical  job  she  posed 
for  advertising. 

Florence  Lake  and  her  clever  brother, 
Arthur  Lake,  are  children  of  a  vaude- 
ville family.  The  parents,  Arthur  Sil- 
verlake  and  Edith  Goodwin,  toured  cir- 
cuits for  years.    The  two  children  have 


An  unusual  camera  study  of  Sammy  Lee,  director  of  dance  ensembles  for  Metro- 
Goldwyn-Mayer,  selecting  girls  for  the  chorus  of  a  forthcoming  song-and-dance 
film.  All  the  studios  maintain  permanent  choruses,  which  are  augmented  from  time 
to  time  for  big  ensemble  scenes.     Here's  the  reason  why  Broadway  is  losing  its 

prettiest  chorines. 


The   New   Movie   Magazine 


done  dramatic  stock  and  vaudeville 
since  the  age  of  four. 

Ralph  Forbes  and  his  mother,  Mary 
Forbes,  are  another  two  generations  of 
stage  family.    Both  are  in  pictures  now. 

There  are  several  actors  and  act- 
resses who  have  come  to  the  screen 
from  old  circus  families.  Renee  Adoree 
with  her  sister  was  born  and  raised  in 
the  sawdust  ring  in  France,  touring 
all  over  Europe  in  the  troupe  with  her 
father. 

Rod  La  Rocque  is  the  son  of  a  fa- 
mous circus  family.  Though  the  line- 
age goes  back  to  a  title  in  France,  the 
family  is  proud  of  its  success  for  at 
least  two  generations  in  the  field  of  en- 
tertainment. Esther  Ralston  comes  of 
a  circus  family. 

Polly  Walker,  who  played  the  femi- 
nine lead  in  "Hit  the  Deck,"  is  a  Broad- 
way player  who  is  plentifully  be- 
sprinkled with  sawdust.  Her  uncle 
who  raised  her  was   a  famous   clown. 

BUSTER  KEATON  is  the  son  of 
Joe  Keaton  of  "The  Three  Kea- 
tons,"  an  act  which  included  his  mother, 
his  father,  and  Buster.  The  act  was  a 
knockabout  act  which  toured  vaude- 
ville for  years,  in  which  Buster  was 
thrown  about  in  a  way  to  make  parents 
in  the  audience  cringe  at  the  thought 
of  the  impending  fatality.  It  would 
have  been  fatal  for  a  child  who  had 
not  been  taught  most  carefully  how  to 
take  his  falls,  as  Buster  was.  Then 
when  he  got  too  big  to  throw  about  he 
went  on  his  own,  finally  winding  up 
in  films  with  Roscoe  Arbuckle  in  come- 
dies in  1917.  His  wife,  Natalie  Tal- 
madge,  sister  of  Constance  and  Norma 
Talmadge,  has  two  small  sons  who 
show  every  sign  of  taking  up  dra- 
matics. Their  best  sport  is  to  go  home 
after  seeing  one  of  their  father's  pic- 
tures and  re-enact  whole  scenes.  Some 
stunt  will  so  appeal  to  them  that  they 
will  be  at  it  for  days  to  the  distress 
and  anguish  of  all  the  members  of  the 
household. 

Charley  Morton  is  another  son  of 
vaudeville.  His  mother  and  father 
toured  as  Mudge  and  Morton,  his 
father,  Frank  Mudge  playing  in  an 
act  in  which  his  mother,  Augusta  Mor- 
ton, sang.  He  traveled  with  his  par- 
ents and  played  in  their  act  from  his 
earliest  years. 

Eliot  Nugent  and  his  father,  J.  C. 
Nugent,  are  members  of  two  genera- 
tions of  a  stage  family.  All  the  Nu- 
gents,  Eliot's  brothers  and  sisters,  have 
been  on  the  stage. 

Wallace  Reid,  one  of  the  screen's  un- 
forgotten  heroes,  was  the  son  of  Hal 
Reid,  a  playwright,  and  his  life  was 
bound  up  with  that  of  the  theater  as  a 
child.  He  diverged  from  this  as  he 
matured,  but  went  back  to  it  as  a  young 
man  and  achieved  a  success  rarely 
paralleled.  Some  of  the  plays  his  father 
wrote  were  the  most  popular  melo- 
dramas of  a  melodramatic  age.  One 
of  these  was  "The  Night  Before  Christ- 
mas" and  there  were  many  others. 

THE  second  generation  of  Foy  has 
certainly  carried  along  the  tradition 
of  their  father,  Eddie  Foy.  All  the 
Foy  children  are  in  dramatic  work, 
with  the  son  Bryan  writing  and  doing 
various  sorts  of  things  for  films, 
mostly  at  Warner  Brothers. 

Raymond  Hackett,  the  young  actor 
who  played  the  son  in  "Madame  X" 
with  Ruth  Chatterton  on  the  screen,  is 
the  son  of  a  stage  mother,  Mary 
Hackett. 

Richard  Barthelmess  claims  no  dra- 
(Continued  on  page  116) 


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(Continued  from  page  115) 


matic  ancestry  on  his  father's  side,  but 
his  mother,  Caroline  Harris,  was  a 
noted  character  actress  for  years  in 
New  York.  Her  career  began  when 
Dick  was  a  baby  and  half  orphaned  by 
the  death  of  his  father.  The  young 
widow  turned  to  the  stage  as  a  means 
of  livelihood,  and  did  so  well  that  she 
was  soon  known  favorably  in  stock  and 
road  show  companies.  She  played  with 
Mme.  Nazimova,  with  Sidney  Drew  in 
"Billy,"  with  Mme.  Petrova  in  "Pan- 
thea,"  and  with  Thomas  Ross  in  "The 
Only  Son." 

When  Dick  was  school  age  there  was 
the  yearly  routine  of  stock  in  Summer, 
and  the  road  in  Winter.  Summers  he 
spent  with  his  mother,  and  often  played 
small  bits  in  the  productions  when  there 
was  need  of  a  child,  though  he  was  in  no 
sense  a  child  actor.  He  grew  up,  then, 
with  this  knowledge  of  the  theater  as 
his  background.  It  was  not  surprising 
that  when  money  was  scarce  and  he  had 
an  offer  to  go  into  "War  Brides"  that 
he  left  college  in  his  junior  year  and 
started  a  dramatic  career.  He  then  be- 
came a  leading  man  for  Marguerite 
Clark  and  in  1918  went  with  D.  W. 
Griffith,  where  he  first  achieved  success. 

Mary  Hay  Barthelmess,  daughter 
of  Mr.  Barthelmess  and  Mary  Hay,  mu- 
sical comedy  star,  is  receiving  all  the 
training  in  dancing  and  music  that  she 
wishes  and  her  father  will  put  no  ob- 
stacles in  her  way  if  she  should  de- 
cide, as  she  probably  will,  to  take  to 
the  footlights  as  a  career.  She  is  a 
tiny,  dainty,  beautifully  formed  child, 
and  it  looks  as  if  her  destiny  is  sealed. 

RUTH  ROLAND,  for  years  a  serial 
■  star,  now  making  a  return  to  films, 
has  two  generations  of  theatrical  folk 
behind  her.  Her  grandmother,  Bar- 
bara Sherer,  was  a  well  known  Tyro- 
lean yodeler;  her  mother,  Lillian 
Hauser,  was  called  "the  California 
Nightingale"  a  generation  ago  in  San 
Francisco.  She  was  a  protege  of  Ade- 
lina  Patti,  who  wished  to  send  her  to 
study  abroad,  but  marriage  ended  all 
that.  The  little  daughter,  now  Ruth  Ro- 
land, also  had  a  maternal  aunt  who 
gave  up  a  budding  and  a  successful  ca- 
reer on  the  stage  to  marry.  Ruth 
herself  has  grown  up  in  the  circus,  on 
the  stage,  and  in  pictures. 

A  little  actress  getting  a  good  grip 
on  a  career  over  at  Paramount  is  little 
Mitzi  Green,  the  child  who  appeared 
in  "Honey,"  "The  Marriage  Play- 
ground" and  other  things.  She  is  the 
daughter  of  stage  parents,  Joe  Keno 
and  Rosie  Green.  Rosie  Green  was  a 
Ziegfeld  Follies  specialty  dancer  and 
was  featured  at  the  time  that  Mae  Mur- 
ray, Fannie  Brice,  Nora  Bayes,  Grace 
La  Rue,  were  being  featured. 

Mitzi 's  father,  Joe  Keno,  started  out 
with  a  troupe  of  Arab  acrobats  in  Coney 
Island  when  he  was  thirteen.  He 
traveled  later  with  his  own  act  all  over 
Europe.  He  originated  the  silly  kid 
in  Gus  Edwards'  "School  Days,"  ap- 
peared in  Henry  Savage's  "Have  a 
Heart,"  in  Sam  Harris's  "Honey  Girl" 
and  in  comedy  roles  with  the  Mitzi  Ha- 
jos  shows. 

Mitzi  started  out  by  urging  her 
father  to  let  her  do  an  act  in  an  actors' 
benefit  when  she  was  five.  A  vaudeville 
scout  nabbed  Mitzi  for  the  Interstate 
and  Orpheum  Circuits.  Then  came  the 
movies. 


TAYLOR  HOLMES  and  Phillips 
Holmes,  his  son,  are  scions  of  a 
stage  family,  with  film  fame  as  well. 
The  father  went  on  the  stage  at  seven- 
teen, as  an  entertainer,  and  then  into 
stock  companies.  He  was  playing  in 
New  York  when  he  met  the  actress, 
Edna  Phillips,  a  Canadian,  then  bound 
for  England.  They  were  married  a 
year  later.  Miss  Phillips  appeared 
with  Sothern  and  Marlowe  and  with 
Richard  Mansfield.  Taylor  Holmes  was 
starring  in  musical  comedies  and  farces 
in  New  York.  After  Phillips  was  born, 
Mrs.  Taylor  returned  to  the  stage  sev- 
eral times,  but  retired  in  a  few  years, 
permanently,  after  playing  with  her 
husband  in  some  of  the  first  films  made 
in  Chicago,  notably,  "Ruggles  of  Red 
Gap."  Holmes  himself  continued  in 
films  for  a  time. 

All  the  Taylor  Holmes  family  are 
now  living  in  Hollywood,  where  Phil- 
ips Holmes  is  under  contract  at  Para- 
mount. His  father  plays  in  legitimate 
productions  and  makes  some  talking 
picture  shorts. 

June  Collyer  is  the  third  generation 
of  a  stage  family,  beginning  with  Dan 
Collyer,  her  grandfather,  Broadway 
stage  star  in  years  gone  by.  Dan  en- 
joyed a  fifty-four  year  career,  begin- 
ning at  the  age  of  eleven  years.  June 
Collyer's  mother  was  an  actress  for 
three  seasons  before  her  marriage  to 
Clayton  Heermance.  She  was  with  her 
father  for  two,  then  was  starred  in  a 
melodrama,  "Lost  in  New  York."  June, 
the  daughter,  started  her  career  in 
school  plays,  and  was  overjoyed  when 
she  was  offered  a  contract  for  films 
at  the  Fox  studios. 

KAY  FRANCIS  has  a  family  behind 
her  with  stage  fame.  Her  mother 
was  Katherine  Clinton,  well-known 
repertoire  player  who  has  been  on  the 
stage  most  of  her  life.  Kay  decided 
not  to  be  a  stage  actress  early  in  life, 
and  it  is  in  films  that  she  has  had  her 
greatest  vogue. 

Katherine  Clinton  took  the  child  with 
her  on  her  tours,  and  they  lived  to- 
gether while  she  was  playing  stock. 

Robert  Armstrong  comes  by  his  dra- 
matic background  through  his  uncle, 
Paul  Armstrong,  a  well-known  pro- 
ducer in  New  York.  The  yen  for  the 
stage  had  developed  in  Bob  while  he 
was  in  college  and  three  months  before 
graduation  he  left  college  with  a 
vaudeville  sketch  called  "The  Campus 
Romance."  Thence  to  New  York  where 
his  uncle  was  producing  "The  Man  Who 
Came  Back,"  "Alias  Jimmy  Valentine" 
and  "The  Escape."  With  his  uncle  he 
learned  all  the  elements  of  his  art, 
both  as  manager  and  by  acting  in  va- 
rious productions.  After  the  war  he 
ran  across  James  Gleason  while  he  was 
playing  in  stock  and  Gleason  was  man- 
aging a  stock  company  in  Milwaukee. 
The  two  teamed  up  and  produced  "Is 
Zat  So?"  which  brought  them  to  the 
fore  in  the  theater. 

William  Janney  is  another  boy  who 
got  the  stage  virus  through  having  a 
producer  in  his  family.  The  father 
and  son  blossomed  forth  from  what 
would  not  be  considered  a  promising 
family  tree  from  which  to  expect 
actors.  The  grandfather  was  a  pro- 
fessor of  mathematics  and  astronomy 
in  an  Ohio  college;  Janney's  father,  the 
professor's  son,  is  a  producer,  notable 


The   New   Movie   Magazine 


Richard  Barthelmess  plays  a  dashing  aviator  in  his  newest  film,  "The  Dawn 
Patrol."  When  plans  were  announced  for  this  air  picture,  Dick  frankly  stated 
that  a  double  would  do  the  sky  stunts.  He  was  in  an  airplane  mishap  some 
years  ago  —  and  you  can't  get  him  into  the  air  again.  That  time  his  pilot  died 
of  heart  failure  while  he  was  bringing  the  ship  to  earth.  Dick  had  a  narrow 
escape  and  doesn't  want  another. 


among  other  successes  for  "The  Vaga- 
bond King."  As  a  child,  young  Janney 
attended  the  School  for  Professional 
Children.  There  he  was  a  classmate 
of  Marguerite  Churchill.  He  organized 
a  children's  production  of  "Merton  of 
the  Movies,"  presented  at  the  Cort 
Theater,  a  performance  which  Alexan- 
der Woollcott  referred  to  as  "com- 
pletely beguiling."  Following  this  he 
joined  with  Glenn  Hunter's  troupe  in 
the  real  "Merton"  and  his  career  was 
under  way.  Though  he  met  with  con- 
stant objections  from  his  father,  who 
desired  him  to  go  to  Yale,  young  Janney 
forged  ahead,  and  his  first  picture 
break  will  be  remembered  as  the  young 
brother  of  Mary  Pickford  in  "Co- 
quette." The  laugh  is  that  now  father 
and  son  have  got  the  professor  grand- 
pa into  the  theatrical  business,  manag- 
ing some  of  the  producing  projects  of 
Russell  Janney.  This  is  pretty  near 
the  only  example  of  the  virus  working 
back  in  the  family  tree. 

ALICE  WHITE  is  the  second  gen- 
■l\  eration  of  the  theater  in  her 
family.  Her  mother,  Marian  Alexan- 
der, ran  away  from  a  straight-laced 
family  and  joined  a  chorus.  After  her 
marriage  and  the  birth  of  Alice,  the 
ambition  continued,  but  destiny  said 
no — and  the  brave  little  trouper  died 
when  her  daughter  was  a  baby  of  three. 
Alice  herself  felt  dramatic  aspirations 
futile,  but  she  came  to  Hollywood  just 
to  stick  around  and  see  what  would 
happen.  It  did,  and  the  little  script 
girl  and  switchboard  operator  fought 
her  way  up  to  stardom  by  sheer  pluck 
and  hard  work. 

The  mother  of  Lupe  Velez,  the  fiery 
little  cabaret  entertainer  who  came  up 
from  Mexico  City  and  stormed  Holly- 
wood with  marked  success,  was  just 
such  a  singing,  dancing  entertainer  as 
her  daughter. 

Marguerite  Churchill  is  the  daughter 


of  a  producer  who  owned  chains  of 
theaters  including  some  in  South 
America.  Marguerite  grew  up  in  the 
atmosphere  of  the  theater,  in  the  Pro- 
fessional Children's  School  in  New 
York,  always  with  the  inspiration  of 
her  maternal  aunt,  Charlotte  Cushman, 
among  the  most  famous  actresses  of 
her  generation.  Marguerite  distin- 
guished herself  as  a  child  in  several  New 
York  productions  and,  at  the  early  age 
of  sixteen,  played  leading  lady  in 
"The  House  of  Terror,"  in  which  she 
shrieked  so  charmingly  that  she  went 
on  into  other  successes.  Her  work  in 
films  has  been  under  the  Pox  banner, 
her  most  popular  to  date  being  "They 
Had  to  See  Paris"  with  Will  Rogers. 
"The  Valiant"  shows  her  in  a  more 
dramatic  role. 

There  is  every  likelihood  that  the 
children  of  Will  Rogers  will  follow  his 
career;  they  all  have  been  given  train- 
ing in  singing,  dancing,  riding,  and  in 
trick  roping.  Dorothy  Stone,  daughter 
of  Fred  Stone,  who  is  such  a  pal  of 
Will's,  followed  her  father  to  the  stage. 

Leatrice  Joy,  who  has  the  custody 
of  little  Leatrice  Joy  II,  daughter  of 
John  Gilbert,  feels  that  she  will  be  very 
happy  if  her  daughter  follows  a  dra- 
matic career.  She  says  that  a  woman 
can  have  a  much  freer  and  fuller  life 
on  the  stage  than  in  any  other  walk  of 
life.  She  is  not  hedged  round  with  the 
smothering  and  petty  atmosphere 
found  in  so  many  lines  of  work  for 
women,  and  may  develop  her  person- 
ality and  carve  out  a  most  satisfactory 
life  for  herself  on  the  stage  or  in 
films. 

This  seems  to  be  the  opinion  of  many 
people  interrogated  as  to  whether  they 
would  wish  to  see  their  sons  and  daugh- 
ters follow  their  lifework.  Nearly  all 
feel  that  their  children  could  not  do 
better.  To  them  the  theater,  the  stage, 
the  films  constitute  a  nourishing,  cher- 
ishing and  encouraging  mother. 


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117 


The   New   Movie   Magazine 


1  here  s 

MAGIC  in 

Beautiful  Hair! 

Lovely  hair,  smartly  finscr^waved, 
can  masically  transform  even  the 
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It  is  not  greasy  or  sticky  and  is  bene= 
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Jo  =  cur  Brilliantine — adds  the 
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Generous  si^cs  of  Jo=cur  Beauty 

Aids  will  be  found  at  most 

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Home  Town  Stories  of  the 

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(Continued  from  page  53) 


in  the  basket  would  fly  all  over  the 
room.  He  would  apologize  as  if  his 
stumbling  had  been  accidental.  An- 
other favorite  trick  of  his  was  to  de- 
liver a  sack  of  eggs,  and  after  putting 
them  in  a  chair  he  would  almost  sit 
down  on  them. 

"He  always  was  mimicing  people, 
and  whenever  he  thought  about  it,  re- 
cited. He  was  downright  funny  and 
everyone  liked  him,  although  he  didn't 
make  a  success  of  delivering  groceries." 

"If  'Pete'  was  fat  he  lost  the  extra 
weight  before  I  knew  him  very  well." 
Mr.  Gray  had  regained  the  floor.  "He 
was  a  pretty  hard  nut  to  crack,  believe 
me.  He  was  extremely  fond  of  his 
mother,  but  he  wasn't  a  mama's  boy  by 
a  long  shot.  Say,  you  should  have  seen 
him  box.  He  always  wanted  to  take  on 
the  big  boys  and  he  did  it  very  neatly. 
I  remember  one  day  when  he  boxed 
with  a  fellow  named  Pettijohn,  who 
was  one  of  the  greatest  ends  the  Uni- 
versity of  Minnesota  ever  had.  This 
football  player  was  big.  That  didn't 
bother  'Pete'.  He  pulled  on  the  gloves 
and  gave  Pettijohn  a  good  walloping. 

PETE'  was  a  hockey  player  when 
he  went  to  Central  High  School, 
but  he  wasn't  a  whiz.  There's  no  use 
making  a  Jim  Thorpe  of  him.  He  was 
just  an  average  boy.  That  reminds 
me  of  'Pete's'  method  of  'crashing  the 
gate'  at  the  Hippodrome  on  the  Minne- 
sota State  Fair  grounds  where  we  used 
to  skate.  All  of  us,  except  'Pete',  had 
season  tickets  and  we  went  skating 
every  night  during  the  winter.  'Pete' 
never  missed  a  night,  and  he  never 
paid  a  cent  to  skate.  We'd  walk  in  in 
a  bunch  with  'Pete'  in  the  center.  The 
gate  keepers  knew  we  had  tickets,  so 
would  wave  the  mob  by.  They  never 
caught  the  'lame  duck.' 

"Being  a  pretty  good  boxer  gave 
'Pete'  a  taste  for  action.  He  liked  a 
rough-and-tumble  fracas,  and  never 
spurned  an  opportunity  to  expend  his 
energy  in  one.  I  remember  one  in- 
stance, however,  which  almost  cooled 
his  ardor  for  battle. 

"It  was  a  Saturday  afternoon  and 
the  gang  was  fooling  around  the  agri- 
cultural school  campus.  We  were 
looking  for  trouble,  and  found  it.     The 


college  cadets  were  drilling  in  the 
Armory.  The  big  double  doors  were 
open  because  it  was  warm  outside.  We 
stood  around  outside  and  watched 
them  for  a  while.  Then  someone  sug- 
gested a  snowball  fight.  There  was  a 
lot  of  snow  on  the  ground,  and  it  was 
ripe  for  throwing.  That  suggestion 
evolved  into  a  better  one:  to  pelt  the 
cadets.  We  made  armfuls  of  snow- 
balls and  advanced  toward  the  Armory. 
'Pete'  gave  the  command  to  fire  and 
the  barrage  began.  I  think  'Pete' 
aimed  at  the  captain's  jaunty  hat.  His 
marksmanship  was  superb.  Sock!  The 
icy  pellet  whisked  the  hat  off  the 
captain's  head  and  carried  it  clear 
down  to  the  floor.  Meantime,  the  drill- 
floor  was  pretty  well  snowed  under. 
The  captain  made  a  quick  decision.  He 
commanded  the  company  to  break 
ranks  and  re-form  outside. 

"In  less  than  a  minute  our  gang  was 
on  the  defensive.  Two  hundred  and 
fifty  cadets  poured  out  of  the  Armory, 
and  we  took  to  our  heels.  They  were 
fast  and  in  a  few  minutes  every  one  of 
us  was  being  dragged  or  carried  into 
the  Armory.  What  followed  was  long 
remembered  if  not  felt.  We  were  made 
guests  of  honor  at  a  "red  eye"  session, 
meaning  that  we  were  turned  over 
barrels  and  lambasted  with  paddles. 
Oh  boy!  It  didn't  make  any  difference 
to  those  cadets  whether  or  not  we  were 
just  kids.  Whew!  I  remember  that 
'Pete'  said  he  ate  dinner  standing  up 
that  night.  I'll  bet  he  slept  on  his 
stomach,  too.  I  did,  and  the  rest  of  the 
gang  followed  suit.  That  episode  took 
all  the  ginger  out  of  us  for  a  while, 
'Pete'  especially. 

"  'DETE'  never  did  any  acting  until 
A  he  was  in  high  school.  Then  he 
did  it  all  the  time.  He  could  entertain 
a  crowd  and  he  never  got  the  stage- 
fright.  Ask  old  'Doc'  Johnson.  (Mr. 
Johnson  is  a  veteran  trolley  conductor 
in  St.  Paul.)     He'll  remember  'Pete'. 

"It  was  election  night  and  the  gang 
decided  to  go  down  town.  We  got  on 
'Doc's'  car.  Everyone  took  a  seat  but 
'Pete'.  He  walked  up  to  the  conductor 
and  took  his  cap.  'Doc'  just  stood  and 
looked  at  him.  Then  Brimmer  took 
'Doc's'  coat.     He  took  off  his  own  hat 


In  Next  Month's  NEW  MOVIE 

HERB  HOWE 

writes  dramatically  and  colorfully  on 

THE  LAST  DAYS  OF  VALENTINO 

telling  many  facts  and  details  never  before  published. 

Every   motion    picture    fan    who    loved    the    great 
Valentino  will  want  to  read  this  remarkable  feature 


118 


The   New   Movie   Magazine 


and  coat  and  put  on  the  conductor's 
uniform.  Then  he  started  down  the 
aisle  and  collected  the  fares.  He  called 
out  streets  and  rang  the  bell.  I'll  never 
forget  'Doc'  He  stood  there  with  his 
mouth  open.  Didn't  say  a  word.  The 
car  was  crowded  and  everybody  was 
laughing  hilariously.  'Pete'  never 
smiled.  He  was  all  business.  When 
he  had  collected  fares  he  went  back  and 
rang  them  up.  The  trolley  had  traveled 
more  than  a  mile  before  'Pete'  relin- 
quished  the   conductor's   cap   and   coat. 

"We  rode  back  home  with  'Doc'  that 
night.  He  told  us  that  'Pete'  didn't 
make  a  single  mistake  in  collecting  the 
fares.  But,  he  kept  his  weather  eye  on 
Brimmer.  Just  a  block  away  from  our 
station  'Pete'  started  in  again.  When 
we  left  the  car  it  was  a  mess.  'Pete'  had 
piled  the  cushions  in  the  middle  of  the 
aisle. 

"That  ought  to  be  enough  to  indicate 
what  kind  of  a  boy  he  was,"  said  Mr. 
Gray.  "And  let  me  say  this:  'Pete' 
Brimmer  as  Richard  Dix  is  a  real  man. 
Nothing  high  hat  about  him.  He  is 
regular.  Last  summer  he  demanded 
that  he  be  called  'Pete.'  We  wouldn't 
have  called  him  anything  else,  for  he's 
just  plain  'Pete'  Brimmer  to  us.  We 
never  miss  his  latest  pictures  and  think 
he  is  getting  better  all  the  time." 

WHEN  'Pete'  entered  Central  High 
School,  in  1909,  he  had  not  the 
slightest  idea  of  becoming  an  actor. 
He  studied  expression  with  Helen 
Austin  as  his  instructor.  Within  a  few 
months  he  became  imbued  with  the  de- 
sire to  act.  Miss  Austin,  who  still  is  a 
member  of  Central's  faculty,  coached 
and  advised  him.  He  was  apt,  and  ex- 
cept for  one  or  two  displays  of  pardon- 
able indolence,  made  rapid  progress  in 
his  dramatic  work. 

Thespian  Brimmer  made  his  first 
stage  appearance  the  latter  part  of  his 


Richard  Dix,  as  he  looked  when  he  made 
his  first  trip  back  home  after  adopting 
the  stage  as  a  career.  Doesn't  look 
much  like  an  actor?      You  never  can  tell. 


freshman  year.  He  was  inconspicuous 
as  the  policeman  in  Richard  Harding- 
Davis'  play  "Miss  Civilization."  He 
advanced  a  notch  in  1910,  to  portray  a 
sailor  in  the  operetta  "The  Mocking 
Bird."  Even  though  the  part  appears 
to  be  insignificant,  "Pete"  gave  it  a  bit 
of  color. 

In  1911,  the  potential  film  celebrity, 
rose  to  stardom.  He  was  "Voohamba" 
the  principal  character  in  the  operetta 
"The  Cingalee." 

"Ernest  (she  prefers  to  call  him 
that)  was  very  good  in  this  part," 
Miss  Austin  recalls.  "He  gave  a  very 
convincing  performance  and  became 
the  idol  of  the  girls.  Ernest  was  a 
nice  boy.  He  was  slim  and  handsome. 
Of  course,  he  had  lots  of  spirit  and  was 
in  his  element  as  an  entertainer.  I 
have  followed  his  career  very  closely, 
and  I  think  he  is  a  very  polished  actor." 

Out  of  High  School  "Pete"  was  set 
on  a  stage  career.  His  father  har- 
bored a  perfectly  natural  abhorrence 
of  the  thought  of  his  son  as  an  actor. 
He  spoke  very  frankly  about  it,  too. 
"Pete"  was  resolute.  His  mother 
understood.  She  counseled  him  to  have 
patience.  Father  Brimmer  said  some- 
thing about  Ernest  going  to  work. 
"Pete's"  brother,  the  late  Dr.  H.  M. 
Brimmer,  obtained  employment  for  his 
brother  in  a  wholesale  house.  The 
youngster  worked  for  a  while,  but  he 
was  too  much  of  a  clown.  His  person- 
ality and  wit  demoralized  the  rest  of 
the  employes  and  he  lost  the  job.  He 
didn't  care.  "Pete"  was  thinking  of 
the  stage. 

OVER-RIDING  parental  objections 
young  Brimmer  enrolled  in  the 
Northwestern  Conservatory  of  Music 
and  Dramatic  Art,  in  Minneapolis. 
He  played  in  the  school  productions  of 
"The  School  for  Scandal,"  "She  Stoops 
to  Conquer,"  and  "Romeo  and  Juliet." 
He  was  acclaimed  as  a  "find"  by  Twin 
Cities  critics.  It  was  during  his  work 
in  the  school  that  the  episode  at  the 
musicale  occurred. 

The  acclamation  of  St.  Paul  and 
Minneapolis  theatergoers  was  the 
straw  which  broke  the  camel's  back. 
Parental  objections  to  a  stage  career 
were  withdrawn.  After  a  season  with 
a  St.  Paul  stock  company  "Pete" 
turned  his  face  toward  the  East  and 
Broadway.  He  assailed  New  York 
booking  offices  as  Richard  Dix.  His 
first  part  was  in  "The  Moth  and  the 
Flame."  After  this  he  worked  for 
Belasco  and  Arthur  Hopkins. 

The  West  beckoned  the  rising  young 
actor.  On  his  way  to  Los  Angeles  to 
become  a  member  of  a  stock  company 
there,  he  stopped  for  a  visit  w:th  his 
parents,  who  now  live  in  his  Hollywood 
home.  He  also  called  on  his  old  pals, 
and  held  a  few  new  babies.  The  old 
gang  half  expected  to  see  a  sophisti- 
cated and  arrogant  fellow  in  the  young 
actor.  His  head  hadn't  enlarged  a 
particle.  Just  the  same  "Pete"  Brim- 
mer who  skipped  out  for  New  York  a 
year  before. 

Less  than  a  year  later  he  made  his 
motion  picture  debut  with  Helene  Chad- 
wick  in  "Dangerous  Curves  Ahead." 
The  St.  Anthony  Park  crowd  attended 
the  first  St.  Paul  showing  in  a  body. 
Several  went  back  to  see  it  a  second 
time.  A  few  of  the  girls  had  dis- 
covered "that  silly  Brimmer  boy"  was 
handsome.  They  never  miss  his  latest 
pictures. 

But,  only  in  motion  pictures  can 
"Pete"  Brimmer  come  back  to  the  old 
home  town  as  Richard  Dix. 


never 
never 

Her  lovely  eyes, so  enchanting,  so  expressive^ 
...her  dark  luxuriant  lashes,  lustrous  and  soft  I', 
curling. ..her delicately  arched  brows  thatform 
a  perfect  setting  for  her  shadowy  eyes... Her 
friends  are  envious  admirers.  They  seek  her  se- 
cret. But  she'll  never,  never  tell...  All  the  riches 
in  the  world  could  not  make  her  eyes,  her  lashes 
and  brows  one  bit  lovelier.  But  for  her  mascara 
and  eye  shadow,  for  the  pencil  that  so  deftly 
shapes  her  eyebrows  she  comes  to  the  5  and 
10-cent  store.  For  there  she  has  found  cosmet- 
ics of  unquestioned  purity  and  of  undoubted 
smartness  ..Heather  Cosmetics  are  her  secret. 

HEATHER  COSMETIKO 

contained  with  brush  in  a  dainty  metal  box,  this 
popular  lash  cosmetic  which  comes  in  black 
and  brown  shades  is  of  the  finest  quality,  the 
smoothest  texture.  And  it  is  pure  and  safe  to 
use  freely.  And  it  will  not  run! 

HEATHER  EYE  SHADOW 

Fashion  now  decrees  faint  shadows  that  by  con- 
trast make  the  eyes  still  lovelier.  In  a  lovely  com- 
pact you'll  find  the  answer ...  It  is  Heather  Eye 
Shadow. ..a  pure,  soft  and  suave  creme  avail- 
able in  all  the  popular  shades.  It  bestows  beauty 
...and  more... it  promotes  lash  growth. 

HEATHER  EYEBROW   PENCIL 

For  those  who  desire  a  cream  pencil  that  will 
clearly  outline  the  eyebrows  and  give  to  the 
lashes  the  exact  prominence  and  shade  desired 
this  Heather  Eyebrow  Pencil  is  made.  It  is  pure. 
It  is  fashionable.  It  is  safe  and  easy  to  use. 
All  Heather  Cosmetics  are  available  at  the  near- 
est 5  and  10-cent  store.  Of  course,  in  certain 
sections  of  the  continent  these  preparations  sell 
for15f!  instead  of  the  usual10£.  In  additiontothe 
preparations  for  eye  make-up,  Heather  Rouge, 
Heather  Lip  Stick  and  Heather  Puffs  are  ex- 
tremely popularamong  those  smart  women  who 
naturally  choose  the  best  of  everything.  Every 
Heather  product  is  . . . 

GUARANTEED  ABSOLUTELY  PURE 

HEATHER 
COSMETICS 


119 


The    New   Movie   Magazine 


8 


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The  MODERN 
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This  is  what  they  do — 


For  Long  or  Bobbed   Hair. 
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"he  Drama  of  Lila  Lee 


{Continued  from  page  30) 


"Let  her  stay  in  the  act  while  we  are 
here,"  said  Gus  Edwards. 

She  stayed.  In  those  few  days,  two 
things  happened  which  v/ere  to  change 
her  life  entirely.  Without  either  of 
them,  she  might  have  stayed  on  in 
Union  Hill  and  married  some  young 
man  and  the  American  public  would 
have  missed  two  idols — Cuddles  and 
Lila  Lee. 

Her  success  with  audiences  continued. 
On  the  third  night  they  gave  her  a 
little  business  in  one  of  the  skits  and 
she  brought  down  the  house.  She  was 
so  very  little,  and  so  very  solemn,  and 
she  looked  exactly  like  a  dark-haired 
Alice  in  Wonderland.  From  all  I  can 
find  out,  there  never  was  a  cuter  or 
more  lovable  small  child  on  the  Ameri- 
can stage  than  this  one.  Her  appeal 
for  audiences  was  like  that  of  the  child 
Jackie  Coogan. 

More  important  even  than  this,  Mrs. 
Gus  Edwards  had  fallen  madly  in  love 
with  her. 

T  ILLIAN  EDWARDS  was— and  is— 
-L'  a  remarkable  person.  No  woman 
connected  with  vaudeville  has  ever  been 
more  deeply  loved,  more  thoroughly  re- 
spected. 

Before  her  marriage  to  Edwards  she 
had  been  a  rich  widow  of  definite  so- 
cial position.  A  highly  educated  and 
traveled  lady,  with  a  background  some- 
what different  to  that  of  her  husband 
or  most  of  the  other  people  who  fol- 
lowed the  vaudeville  profession.  Into 
this  new  world  where  love  had  led  her 
she  brought  the  same  graciousness  and 
tact  and  sweetness  which  had  made 
her  popular  and  beloved  in  her  own. 
It  wasn't  many  years  before  Lillian 
Edwards  became  a  tradition  in  vaude- 
ville theaters — a  mother  confessor  to 
many  harassed  girls,  a  friend  in  need 
to  many  a  man. 

The  one  great  disappointment  of  her 
life  was  that  she  had  no  children.  Al- 
ways she  had  longed  for  a  little  girl  of 
her  own. 

"Everyone  always  seemed  to  want 
blond  babies,"  she  told  Lila  once,  "but 
I  didn't.  I  had  always  dreamed  of  a 
little  girl  with  long,  black  hair  and  a 
little  round  face." 

Three  days  after  she  first  saw  little 
Gussie  Appell  she  knew  that  no  other 
child  would  ever  take  the  place  of  the 
child  she  had  never  had. 


"I  must  have  her,  Gus,"  she  said, 
"I  love  her  already.  I'll  be  so  good 
to  her  and  make  her  so  happy." 

They  put  it  up  to  Mr.  and  Mrs. 
Appell. 

This  story  has  nearly  always  been 
told  wrong.  Over  and  over  it  has  been 
written  how  the  Edwards  found  the 
tiny  child  in  the  gutter,  ragged,  hun- 
gry, dirty  and  neglected.  How  they 
adopted  her  and  cared  for  her  and  she 
didn't  even  know  who  her  mother  and 
father  were. 

PROBABLY  it  would  make  a  better 
story  that  way,"  says  Lila  Lee.  "But 
the  truth  is  different  and  very  easy  to 
prove.  There  are  many  people  who 
know  it.  I  believe  anyone  who  likes  me 
on  the  screen  would  rather  have  the 
truth — even  if  it  isn't  quite  so  ro- 
mantic. We  were  not  rich.  Far  from 
it.  My  people  were — just  folks.  They 
both  worked  hard.  But  I  wasn't  a 
waif  by  any  means.  I  would  be  grate- 
ful if  you  would  tell  it  as  it  really 
happened,  in  justice  to  my  mother.  The 
other -story  has  hurt  her  very  much. 
She  was  always  a  good  mother.  She 
loved  me  dearly  and  never  lost  sight 
of  me,  and  when  in  the  end  I  needed 
her  she  came  to  me  at  once  and  has 
always  stood  by  me.  She  gave  me  up 
because  she  thought  I  would  be  better 
off  and  have  more  of  a  future  with 
Mrs.  Edwards." 

"Like  everyone  else  who  ever  met 
Lillian  Edwards,  my  mother  adored 
her.  She  realized  that  she  had  char- 
acter and  money.  She  understood  that 
a  woman  like  that  could  do  more  good 
for  me  than  she  could.  She  had  always 
dreamed  that  I  might  some  day  see  the 
world,  and  have  an  education,  and  not 
have  to  work  at  hard,  unpleasant 
things  all  my  life  as  she  had  done. 

"America  hadn't  fulfilled  her  dreams. 
But  she  thought  that  with  such  a  start 
she  might  see  me  have  what  she  de- 
sired for  me.  So  she  allowed  me  to  go. 
But  we  were  never  wholly  separated 
and  I  was  never  adopted  by  Mr.  and 
Mrs.  Edwards.  My  mother  would  not 
allow  that." 

MUCH  of  that  was  to  come  out 
years  later  in  a  court  suit  which 
took  up  many  headlines  and  at  last 
freed  the  little  girl  from  many  mis- 
understandings and  much  confusion. 


Who  is  the  most  dreaded  actress  in  Hollywood? 
Whose  name  is  poison  to  every  film  star? 
Who  steals  every  film  she  is  in? 

MARIE  DRESSLER 

Adela  Rogers  St.  Johns  tells  you  all  about  the  real 
Marie    Dressier    in    next   month's    NEW    MOVIE 


120 


The    New    Movie    Magazine 


There  was  a  long  talk  that  night  in 
the  little  hotel  lobby  after  Gussie  had 
gone  to  bed.  The  father  was  willing 
enough.  If  it  had  been  a  boy,  that 
would  have  been  a  different  matter. 
But  girls  were  a  problem  for  poor  folks. 
It  was  a  great  chance  for  this  little 
thing,  to  be  taken  by  such  fine  people 
and  trained  in  a  business  where  there 
was  much  money  and  prestige. 

But  the  mother  was  silent,  her  hands 
folded  over  her  stomach,  her  fat,  placid 
face  drawn  with  pain  and  indecision. 
All  night,  after  her  husband  had  begun 
to  snore  peacefully  at  her  side,  she 
lay  awake,  thinking.  In  the  morning, 
she  said  that  the  child  might  go. 

"So,  it  is  best  for  her,"  she  told  Lil- 
lian Edwards. 

A  LITTLE  frightened,  but  alto- 
gether intrigued  by  this  amazing 
new  life,  Gussie  Appell  left  Union  Hill 
and  became  a  child  of  the  theater.  She 
wasn't  quite  five  years  old.  She  ceased 
then  to  be  Gussie  Appell.  She  became 
"Cuddles"  on  the  billing  and  in  every- 
day life. 

That  name,  which  was  to  be  known 
to  vaudeville  audiences,  in  every  big 
town  and  most  small  ones  all  over  the 
United  States  and  Canada,  came  into 
being  automatically.  Somehow  she  sug- 
gested  Cuddles.     Everyone   wanted   to 


Reginald  Denny,  dressed  as  an  English 
woodman  of  olden  times,  in  the  masked 
ball  sequence  of  Cecil  De  Mille's 
"Madame  Satan."  Probably  you  saw 
Denny's  many  Universal  comedies.  Here 
is  a  histrionic  departure  for  him. 


cuddle  her.  And  she  accepted  it  all 
with  childish  philosophy.  Too  young 
to  miss  her  mother  and  her  home  after 
the  first  week  or  two,  she  turned  the 
whole  love  of  her  heart  to  Lillian 
Edwards. 

For  six  years,  Lillian  Edwards 
was  her  mother  in  thought,  word  and 
deed.  They  were  never  apart.  To  this 
day  I  am  sure  that  Lila  Lee  loves  her 
foster  mother  better  than  any  woman 
on  earth.  The  formative  years,  the 
sensitive  years  when  impressions  are 
deepest,  belonged  to  Mrs.  Edwards  and 
she  built  up  ties  that  were  stronger 
than  those  of  blood. 

"I  can  never  forget  all  she  did  for 
me,"  Lila  told  me.  "She  was  a  beauti- 
ful character,  unselfish  and  kind  al- 
ways. I  owe  her  a  debt  I  can  never 
repay.  The  trouble  that  came  later 
was  in  no  way  her  fault  and  it  never 
touched  the  feeling  between  us.  She 
knew  that  I  had  to  do  what  I  did  and 
she  has  such  justice  that  I  know  she 
loves  me  still." 

With  the  departure  from  Union  Hill 
began  eight  years  of  a  strange  and  un- 
usual life,  a  life  very  different  from  the 
one  usually  followed  by  children. 

I  have  never  believed  much  in  the 
stage  as  a  place  to  bring  up  young- 
sters. The  picture  has  often  been 
painted  blacker  than  it  is,  but  at  best 
it  does  something,  as  a  rule,  to  rob 
children  of  that  precious  gift  of  child- 
hood. They  are  too  soon  forced  into  a 
grown-up  world.  The  adulation,  the 
showing  off,  makes  them  precocious 
and  destroys  the  simple  sweetness  too 
soon. 

But  that  was  not  true  of  Cuddles. 
It  may  be  that  she  has  a  naturally 
humble  and  simple  nature.  It  may  be 
that  Mrs.  Edwards  counteracted  the 
poison.  But  it  is  undoubtedly  true 
that  no  stage  child  was  ever  in  and  yet 
so  little  of  the  theater  as  this  small 
prima   donna. 

The  very  essence  of  Gus  Edwards' 
success  lay  in  the  fact  that  he  did  not 
allow  his  children  to  become  stagey,  did 
not  want  them  to  act  nor  to  show  off. 
Always  he  strove  for  naturalness,  for 
simplicity.  If  he  could  get  them  to  be- 
have on  the  stage  like  real  kids,  he  was 
tickled  to  death.  They  were  dressed 
like  stage  children  and  they  never  used 
make-up. 

WHEN  Lila  Lee  came  to  Hollywood 
to  be  a  star  in  pictures  for  Lasky- 
Famous  Players  in  1918,  she  had  never 
had  a  bit  of  make-up  nor  a  speck  of 
grease-paint  on  her  face  and  she  had 
been  on  the  stage  for  eight  years. 

Twice  a  day  she  went  to  the  theater, 
that  is  true.  For  six  years  twice  a 
day  she  put  on  little  white  pique  or 
white  organdie  frocks  and  Mrs.  Ed- 
wards tied  the  wide  sashes  about  her 
little  stomach.  Then  she  went  out  on 
the  stage  and  won  her  listeners  with 
her  little  songs  and  skits.  They  didn't 
teach  her  to  dance — they  just  allowed 
her  to  go  out  and  dance  as  a  kid  would. 
Her  singing  was  slightly  off  key,  but  it 
was  the  real  kid  stuff,  with  imitations 
of  which  the  Duncan  sisters  later  made 
themselves  famous. 

That  was  all  Cuddles  knew  of  the 
theater — those  brief  intervals  daily  of 
half  hours. 

Outside  that  she  lived  in  the  best 
hotels  with  Mrs.  Edwards  as  a  constant 
companion.  When  they  traveled  from 
one  town  to  another  she  and  Mrs.  Ed- 
wards shared  a  drawing  room.  A  tutor 
accompanied  them  everywhere,  and 
Cuddles  received  an  excellent  education. 
(Continued  on  page  122) 


H€ 


u like, 

WALTZ 


121 


The   New   Movie   Magazine 


The  Drama  of  Lila  Lee 


BATHASWEET 


Make 
Your  Bath 
a  Beauty 
Treatment 


There  was  a  time  when  a  bath  was  just  a 
bath.  Now  it  is  much  more.  Just  a  sprin- 
kle of  Bathasweet  and  your  daily  tubbing 
becomes  a  veritable  beauty  treatment.  Not 
only  is  the  water  made  fragrant  as  a 
flower  garden,  but  it  gains  a  delightful 
softness.  It  washes  deep  into  the  pores, 
dissolves  the  secretions  of  the  skin  and 
leaves  about  you  an  indefinable,  almost 
scentless  fragrance  that  lingers  all  day 
long.  Your  skin  is  stimulated  to  more 
radiant  health;  many  blemishes  disappear 
and  an  air  of  springtime  daintiness  be- 
comes an  inseparable  part  of  your  person- 
ality. No  charm  is  more  in  keeping  with 
modern  ideas  of  femininity. 

The  best  indication  of  how  Bathasweet 
accomplishes  its  remarkable  results  is  to 
be  found  in  the  fact  that,  if  properly  used, 
the  Bathasweet  bath  leaves  no  sticky 
"ring"  around  the  tub.  Instead  it  holds 
soap  and  dirt  in  solution,  so  that  they 
cannot    wash   back   into  the   pores. 

You  can  buy  Bathasweet  at  the  bet- 
ter 5  and  10c  stores.  Or  send  the 
coupon  below  zvith  10c  and  we  will 
mail  you  your  introductory  package. 


C.    S.   WELCH   CO. 

Dept.   TG-7,   1907    Park  Ave.,   N.  Y. 

Enclosed    please    find    10c    for    which    ^end    me 
can  of   Bathasweet. 


{Continued  from  page  121) 


GEORGIE  PRICE,  her  partner  in 
the  act,  was  her  playmate,  almost 
like  a  brother  to  her,  and  there  were  a 
number  of  other  children  in  the  act. 
In  many  big  cities  the  Edwards — 
especially  Mrs.  Edwards — knew  the 
nicest  people,  and  Cuddles  and  Georgie 
were  allowed  to  visit  their  beautiful 
homes  and  play  with  their  youngsters. 

The  theater  itself  was  just  a  place 
to  play.  There  she  and  Georgie  worked 
out  funny  imitations  of  other  acts  on 
the  bill,  just  as  kids  at  home  imitate 
their  sedate  elders.  And  she  and 
Georgie  were  a  very  close  corporation. 
They  might  turn  on  each  other,  kick, 
scratch,  claw  and  bite.  But  let  an 
outsider  stick  his  nose  in  and  they 
presented  a  united  front. 

Of  course,  there  were  things  which 
happened  outside  the  normal  experience 
of  children. 

Once  when  they  were  making  an  un- 
expected tour  of  one-night  stands 
through  Texas,  they  encountered  an  un- 
usual theater.  The  basement  was  the 
jail,  the  ground  floor  was  occupied  by 
the  theater  and  the  fire  department,  and 
the  second  floor  was  the  courthouse. 
The  police  officers  served  as  jailors, 
firemen,  and  in  this  emergency,  as 
stage  hands. 

When  Cuddles,  her  tender  heart 
touched  by  their  plight,  requested  that 
the  officers  allow  all  the  men  in  jail 
to  come  one  night  and  see  the  show,  the 
gallant  Texans  complied.  The  entire 
population  of  the  jail  occupied  the  gal- 
lery and  cheered  Cuddles  to  the  echo. 

"They  behaved  beautifully,"  she  told 
me.  "I  was  so  sorry  for  them.  I  spent 
all  my  money — and  so  did  the  other 
kids — giving  them  things  to  eat.  We 
tried  to  let  them  all  out  before  we  left, 
but  fortunately  we  didn't  get  away  with 
it." 

DURING  a  Southern  tour  when  she 
was  nine,  Cuddles  had  her  first 
love  affair.  He  was  twelve,  the  son  of 
some  old  friends  of  Mrs.  Edwards'  and 
Cuddles  thought  he  was  the  nicest  boy 
she  had  ever  met.  While  they  stayed 
in  the  Southern  city,  the  affair  waxed 


apace  and  afterwards  they  wrote  for 
weeks  and  made  plans  to  be  married  as 
soon  as  he  could  support  her. 

But  one  day  he  wrote  her  a  letter 
in  which  he  mentioned  that  another 
girl  was  "stuck  on  him."  Cuddles  didn't 
approve  of  that.  So  she  never  an- 
swered the  letter,  and  she  never  saw 
him  again  until  after  she  was  a  fa- 
mous movie  actress  and  had  married 
James  Kirkwood. 

Then,  being  in -Los  Angeles,  he  tele- 
phoned her  and  went  to  call.  But  the 
old  spark  was  dead.  They  had  nothing 
to  say  to  each  other — and  parted  as 
quickly  as  possible. 

There  was  the  time,  too,  when  Cud- 
dles herself  was  arrested.  That  was  in 
Rochester,  New  York,  and  after  the 
advent  of  Minnie. 

In  1916  Gus  Edwards  stopped  act- 
ing himself  and  began  to  produce  and 
direct  a  number  of  acts.  So  Mrs.  Ed- 
wards no  longer  accompanied  Cuddles. 
In  her  place  she  sent  Minnie,  who  was 
afterwards  to  become  famous  in  Holly- 
wood as  a  fighter  and  a  watchdog  of 
the  first  water.  Minnie  was  a  big  Ger- 
man woman,  motherly,  fearless,  abso- 
lutely uninterested  and  unimpressed 
by  anything  except  Cuddles.  That  was 
her  weakness  and  woe  betide  anyone 
who  crossed  her  trail  there. 

IN  Rochester,  as  in  many  other  places, 
it  was  necessary  to  get  a  permit 
from  the  Gary  Society  before  a  child 
could  perform.  The  stage  manager  had 
procured  a  permit  for  Cuddles,  but  he 
didn't  know  that  in  Rochester  there 
were  permits  and  permits.  Cuddles' 
permit  allowed  her  to  appear  on  the 
stage  and  talk,  but  it  did  not  permit  her 
to  sing  or  dance. 

When  she  came  off  the  stage  after 
her  first  number,  a  large  and  de- 
termined detective  was  waiting  and  pro- 
posed to  take  her  forthwith  to  the  De- 
tention Home  for  Wayward  Girls.  But 
he  found  himself  facing  Minnie.  He 
pulled  Cuddles  one  way,  and  Minnie 
pulled  her  the  other.     Minnie  won. 

"You  don't  take  her  without  me," 
said  Minnie. 


Paul  Lukas  is  a  screen  villain  with  a  happy  home.     Just  to  prove  it,  we  reproduce 
Paul's  Hollywood  home,  with  Paul  and  Mrs.  Lukas  on  the  steps. 


122 


The   New   Movie   Magazine 


The  battle  was  hot  and  heavy  for 
some  time.  Minnie  finally  was  allowed 
to  go  along.  Outside  the  stage  en- 
trance, the  detective — -"I  wish  I  could 
remember  his  name,  he  was  so  mean 
and  cruel  to  me"  says  Lila — had  the 
"Black  Maria"  waiting  for  this  eleven- 
year-old  child.  And  they  took  her  to 
the  Detention  Home. 

But  it  happened  that  Gus  Edwards 
was  in  town  and  he  got  bail  for  her. 
The  next  morning  she  was  to  appear 
before  the  judge. 

"We  knew,"  Lila  said,  "that  they'd 
keep  me  there  a  long  time.  So  that 
night  Mr.  Edwards  put  on  a  long  fur 
coat.  I  sneaked  in  under  it  behind  him, 
and  we  walked  out  of  the  hotel  right 


Catherine  Moylan,  recently  of  the  Follies 
and  now  of  Metro-Goldwyn,  enjoys  a 
few  hours  at  the  beach.  Luckily,  a 
photographer  for  THE  NEW  MOVIE 
was  close  by. 


under  a  policeman's  nose.  I  was  so 
little  they  never  saw  me.  We  got  on 
a  train  and  went  back  to  New  York. 
Mr.  Edwards  finally  got  it  all  fixed  up." 

WHEN  Cuddles  was  twelve,  she  be- 
gan to  get  mash  notes  and  invi- 
tations to  supper.  Minnie  took  them 
all  and  threw  them  into  the  waste 
basket.  She  didn't  realize  that  over 
the  footlights  Cuddles  looked  a  slim 
and  lovely  sixteen. 

But  in  Washington,  D.  C,  they  en- 
countered a  young  man  who  was  not  to 
be  put  off.  Unanswered  notes,  ignored 
invitations  to  this  and  that,  did  not 
deter  him.  Finally  he  wrote  that  on  a 
certain  evening  he  and  all  his  fra- 
ternity brothers  would  be  waiting  at 
the  stage  door  and  that  they  intended 
to  take  Cuddles  to  a  college  dance. 

True  to  his  word,  he  appeared.  With 
him  were  twenty  other  stalwart  young 
collegians.  They  waited — and  waited. 
Finally  they  asked  the  doorman  for 
Cuddles. 

"Why,  she  went  out  'bout  half  an 
hour  ago,"  he  said,  "didn't  you  see  her? 
She  walked  right  by  you." 

The  youth  protested.  He  considered. 
Finally  he  said — "Not — not  that  little 
brat  in  sox  and  a  blue  tam-o-shanter?" 

"Sure,"  said  the  doorman,  "that  was 
her." 

"I  don't  believe  it,"  said  the  young 
man.  "I  thought  she  was  putting  all 
that  on." 

T  was  in  New  York  in  1918  that 
Jesse  Lasky,  head  of  the  leading 
studio  of  Famous-Players-Lasky,  ap- 
proached Gus  Edwards,  with  an  offer  to 
star  Cuddles  in  pictures.  He  had  seen 
her  act  at  a  big  New  York  vaudeville 
house  and  he  thought  he  had  a  great 
find. 

They  discussed  terms  and  finally  a 
five-year  starring  contract  was  signed 
by  Gus  Edwards  as  Cuddles'  legal 
guardian.  Several  long  sessions  were 
held  to  find  a  name  for  her.  And  just 
as  she  had  left  Gussie  Appell  at  Union 
Hill,  when  she  boarded  a  train  for 
Hollywood  with  the  faithful  Minnie, 
Cuddles  was  left  behind. 

Miss  Lila  Lee  had  come  into  being. 
Jesse  Lasky  had  selected  that  name  for 
his  new  star. 

No  girl  ever  came  to  Hollywood  with 
such  a  fanfare  of  trumpets,  such  ad- 
vance publicity,  such  predictions  for 
instantaneous  success.  Lila  Lee  was 
the  Great  Find.  Without  ever  having 
seen  a  camera,  she  was  a  star.  With- 
out knowing  what  a  stick  of  grease- 
paint was  for,  she  was  to  be  raised  to 
stardom.  Without  ever  having  played 
a  role  in  her  life,  she  was  to  carry  an 
entire  story  and  startle  the  world. 

The  beauty  which  had  developed  in 
this  thirteen-year-old  child,  with  her 
long  cloud  of  black  hair  and  her  great 
dark  eyes,  her  wonderful  personality 
that  had  always  swept  across  the  foot- 
lights and  fascinated  audiences,  had 
convinced  the  entire  Famous-Players- 
Lasky  organization  that  she  would  need 
no  preparation. 

At  thirteen  she  was  a  movie  star. 
Hollywood  had  been  conquered  with- 
out a  blow. 

She  made  one  starring  picture  and 
was  the  biggest  flop  the  motion  picture 
industry  has  ever  known. 

(Next  month  New  Movie  will  present 
the  second  installment  of  Lila  Lee's  life 
story,  relating  her  stardom  at  thirteen 
— and  its  tragic  consequences.) 


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The   New   Movie   Magazine 


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UNGUENTINE 


Hollywood's  Younger 
Generation 


(Continued  from  page  34) 


Mabel  Normand,  when  she  first  arrived 
in  Hollywood  in  1914,  you  were  stopped 
by  her  beauty  and  her  inescapable 
genius  for  laughter. 

(Please  remember  now  that  I  am 
talking  entirely  from  the  point  of  view 
of  the  screen — of  making  motion  pic- 
tures— of  talent  for  stardom  which  is 
really  great.) 

WHERE  are  we  going  to  find  an- 
other Gloria  Swanson,  who  can't 
be  downed  by  bad  pictures,  absence 
from  the  screen,  competition  of  any 
kind? 

There  wasn't  anything  very  polished 
about  Gloria  Swanson  when  she  was  a 
kid  in  Hollywood.  But  even  then,  she 
had  an  arresting  quality,  a  unique  ap- 
pearance and  personality  that  made 
your  eyes  follow  her  when  she  walked 
across  a  room.  Somehow  it  seems  to 
me  now  that  there  was  more  power  and 
more  courage  in  her  awkward  and  un- 
taught youth  than  there  is  in  all  these 
exquisite  young  creatures  who  photo- 
graph so  beautifully. 

Where  among  them  are  we  going  to 
get  the  versatility  and  elegance,  the 
strong  dramatic  art,  of  the  woman 
who  could  play  "Smilin'  Thru"  and 
"Within  the  Law"  and  "Kiki"  and 
"The  Eternal  Flame"?  The  woman 
who  could  go  on  year  after  year  in  any 
story  and  always  give  a  fine  perform- 
ance and  always  delight  your  eye  and 
your  poetic  sense?  Norma  Talmadge 
still  stands  on  her  long  past  record  as 
the  best  all-around  actress  we  have  had 
on  the  screen.  Greta  Garbo  has 
equalled,  perhaps  surpassed  her,  in  exe- 
cution, but  it  remains  to  be  seen 
whether  she  can  carry  on  as  Norma 
has  done. 

Marion  Davies,  Bebe  Daniels,  Lillian 
Gish — you  couldn't  mistake  one  of  them 
for  the  other. 

And,  when  it  came  to  daring,  when 
it  came  to  the  bizarre,  the  startling,  the 
younger  generation  doesn't  seem  to 
have  much  on  Mae  Murray  of  "The 
Merry  Widow." 

THE  foreign  importations,  leaving 
out  always  Garbo,  who  is  without 
time  or  nationality  to  me,  don't  reveal 
to  me  the  equal  of  Pola  Negri  when 
she  first  arrived  and  before  she  was 
killed  by  rotten  pictures  and  bad 
handling.  What  an  actress,  and  what 
a  person!  Grant  them  their  very  best, 
grant  them  ability  and  beauty  and  a 
right  to  a  certain  kind  of  stardom,  but 
can  anyone  honestly  place  Lupe  Velez, 
and  Lily  Damita,  and  Dolores  del  Rio, 
and  Fifi  Dorsay  beside  Pola? 

The  decade  just  passed,  the  decade 
which  ended  in  the  creation  of  talking 
pictures  has  seen  the  definite  establish- 
ment of  certain  great  stars,  who  will 
probably  hold  their  position  on  the 
screen,  as  stage  actresses  have  held 
their  public,  from  generation  to  genera- 
tion. Gloria  Swanson,  Bebe  Daniels, 
Greta  Garbo,  Mary  Pickford,  possibly 
Norma  Shearer,  seem  headed  for  per- 
manence such  as  Ethel  Barrymore  and 
Mrs.  Fiske  have  enjoyed  on  the  stage. 
Corinne  Griffith  and  Colleen  Moore, 
with  full  lives  and  solid  fortunes,  may 
retire  from  hard   work   after  glorious 


careers.  Constance  Talmadge  has  defi- 
nitely left  the  screen.  Norma  Tal- 
madge's  fate  is  in  the  balance  and  she 
knows  it.  If  she  makes  a  great  picture 
of  "Du  Barry,"  she  will  join  the*  group 
of  those  whose  fame  continues.  If  she 
doesn't,  I  think  it  is  doubtful  what  her 
plans  may  be. 

Clara  Bow  is  also  "on  trial."  The 
latest  of  the  really  great  stars — or 
perhaps  she  and  Garbo  are  contem- 
poraries— she  has  all  the  essentials  if 
she  cares  to  use  them.  Unless  it  proves 
that  the  public  recognizes  her  only  as 
a  type  and  not  as  an  actress.  "Type" 
stars  never  last  very  long.  The  flair 
dies  down  and  they  vanish.  But  Clara 
is  a  fine  actress,  if  she's  given  a  chance. 
It  remains  to  be  seen. 

The  talkies  seem  to  have  frightened 
Janet  Gaynor,  but  she  should  survive 
them.  Mary  Nolan  is  the  most  colorful, 
the  most  beautiful,  of  the  newcomers. 
If  her  health  or  her  temperament  don't 
wreck  her,  she  may  be  one  to  reach  the 
old  great  heights.  Joan  Crawford  and 
Nancy  Carroll  are  good  bets — but  I 
think  they've  reached  their  limits. 
Maybe  not. 

MORE  and  more,  the  picture  is  be- 
coming the  thing.  Girls  are  se- 
lected for  parts,  not  parts  for  the  girls. 
The  younger  generation  is  fitted  into 
the  giant  scheme  of  making  good  box- 
office  pictures  for  the  public.  In  the 
old  days,  the  brilliant  group  who  be- 
came the  great  names  of  screen  history 
fitted  the  motion  picture  industry 
around  themselves.  They  weren't  se- 
lected by  a  producer  to  do  such  and 
such  things,  to  fill  such  and  such  a 
place  on  the  program.  They  shot  up 
into  public  demand,  and  a  producer  be- 
gan to  make  plans  for  them,  and  find 
stories  to  exploit  them,  and  directors 
to  bring  out  their  best  work.  Now  the 
director  looks  about  for  someone  who 
"looks  the  part,"  or  can  sing  a  song,  or 
dance  a  dance  a  certain  way. 

It  is  bound  to  submerge  personality 
to  some  extent.  It  is  also  bound,  I  be- 
lieve, to  be  satisfied  with  less.  The 
picture  now  carries  itself  and  the 
actors.  Ten  years  ago,  the  star  carried 
everything. 

This  won't  last.  From  somewhere 
big  talent  will  come,  as  Ruth  Chatter- 
ton  came — as  Clara  Bow  and  Garbo 
came — because  the  public  can't  love  the 
best  picture  impersonally  as  much  as  it 
loves  the  great  figures  that  stood  out. 
The  success  of  Maurice  Chevalier 
proves  that. 

William  Powell,  Ronald  Colman, 
Chevalier,  Bancroft,  prove  the  desire 
of  the  audiences  for  strong  characters 
— definite  and  unmistakable  characters. 
There  is  only  one  Colman,  one  Ban- 
croft. The  need  for  such  things  as 
were  offered  by  stars  like  La  Marr  and 
Swanson,  Lillian  Gish  and  Pickford, 
will  in  the  end  bring  outstanding  girls 
and  women  forward. 

But  they're  more  apt  to  come  from 
the  barber  shops  of  Sweden  or  the 
streets  and  tenements  of  Brooklyn,  as 
came  Bow  and  Garbo,  than  from  the 
present  crop — the  so  well-behaved  and 
so  ladylike  younger  generation  of 
Hollywood. 


124 


The    New   Movie   Magazine 


Girls,  Bill  Powell  has  shaved  off  his  mustache!  Look  above,  at  the  left.  You  will 
see  Powell,  sans  mustache,  in  "Facing  the  Law."  At  the  right,  the  last  appearance 
of  Bill's  mustache,  in  "The  City  of  Silent  Men."     The  mustache  was  exactly  five 

years  old  at  its  demise. 


The  Unknown  Charlie  Chaplin 

{Continued  from  page  26) 


TIT"  HEN  not  working,  which  was  half 
VV  the  time,  it  was  his  custom  to 
telephone  from  his  Beverly  Hills  man- 
sion each  day  and  request  that  certain 
of  his  employees  be  sent  to  him.  If 
the  order  came  late  in  the  evening,  we 
considered  it  from  "the  little  genius," 
our  pet  name  for  him. 

One  Saturday  afternoon  I  was  called 
for,  and  upon  arriving  was  told  that  I 
was  to  accompany  him  to  dinner  that 
night.  He  had  suddenly  grown  tired 
of  two  other  men  and  had  suddenly  de- 
sired my  company.  I  saw  that  he  was 
in  a  dark  mood  and,  sensing  tedious 
hours  ahead,  I  looked  about  for  a 
means  of  protection. 

Leaving  the  mansion  to  go  on  an 
errand  in  Hollywood,  I  had  the  good 
fortune  to  meet  Lita  Grey  at  the 
studio.  Knowing  that  if  she  should 
"accidentally"  drift  into  the  Mont- 
martre,  where  I  guessed  we  would  go 
for  dinner,  that  he  would  probably  in- 
vite her  to  dinner  and  send  me  home,  I 
asked  her  to  come  to  the  restaurant. 
She  agreed  to  make  it  appear  acci- 
dental.    The  plan  nearly  worked. 

At  eight  o'clock  that  night  Chaplin 
took  me  to  the  Montmartre.  As  we 
walked  nonchalantly  toward  his  ac- 
customed table,  he  stopped  suddenly. 
For  there  sat  the  two  men  of  whom  he 
was  tired. 

Chaplin  turned  about,  saying  "No 
more  privacy  than  a  shoe  clerk,"  and 
walked  with  me  out  of  the  restaurant. 
We  went  to  another  cafe.  It  also  was 
crowded. 

His  Japanese  chauffeur  followed  us 
in  the  car. 

Chaplin  decided  to  go  to  the  Ambas- 
sador Hotel. 

ONCE    there,    we    remained    at   the 
same  table  for  over  five  hours.     I 
was  completely  talked  out. 

Chaplin  watched  the  dancers  glid- 
ing about. 


At  last  a  Spanish  girl  began  to 
flirt  with  him.  My  heart  beat  fast. 
If  she  would  only  come  to  his  table, 
he  might  excuse  me.  I  praised  the 
girl's  beauty  for  an  hour.  She  danced 
every  now  and  then,  while  the  come- 
dian's eyes  followed  her.  Finally,  in 
desperation,  I  said,  "Why  don't  you 
chat  with  her,  Charlie?  She's  very 
lovely." 

And  the  little  genius  answered,  "I'm 
not  in  the  mood,  Jim.  It's  lovelier  just 
to  watch  her." 

He  took  me  home  early  in  the  morn- 
ing. 

Lita  Grey  arrived  at  the  Montmartre 
on  time.  She  found  the  two  men  at 
the  table.     We  had  come — and  gone. 

He  is  the  greatest  inarticulate  ironist 
on  earth.  The  petty  platitudes  of  lesser 
men  do  not  conceal  from  his  keen  eyes 
the  great  truth  that  life  is  a  bitter 
business  and  that  mankind  does  a  goose 
step  to  the  grave.  He  has  the  first-rate 
man's  sense  of  futility. 

MY  ingratitude  to  Chaplin  has  long 
been  a  byword  in  Hollywood.  It 
has  been  said  that  I  arrived  here  a 
tramp  and  was  befriended  by  film 
people,  subsequently  biting  the  hands 
that  fed  me.  This  is  not  true.  The 
two  men  who  made  the  early  days 
easier  for  me  in  Hollywood  were  Paul 
Bern  and  Rupert  Hughes.  Both  are 
still  close  to  me.  My  second  book  was 
dedicated  to  Rupert  Hughes,  my  last  to 
Paul  Bern. 

Until  this  moment  I  have  never 
troubled  to  answer  any  man's  charges. 
My  old  grandfather  used  to  say,  "Kape 
your  head  up,  Jimmy.  Ye've  the  blood 
of  a  wind-rovin'  Dane."  And  so  through 
all  the  melee  of  words  I  have  always 
smiled,  and  thrown  another  brick.  If  it 
missed,  I  threw  another  one. 

"Payple  respect  ye  more  whin  they're 
a  little  afraid,"  my  grandfather  used  to 
{Continued  on  page  126) 


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125 


The    New   Movie   Magazine 


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and  imparts  a  lasting  lustre. 
It  is  not  affected  by  water. 
Dark  Red,  Natural  Pink  or 
Colorless.  You  will  find  it 
at  most  chain  stores. 

Use  F-O  Colorless 
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brilliance,  expression  and  charm 
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Ends  pain  instantly — 
prevents    blistering. 

WHEN  doctors,  life 
guards,  and  First 
Aid  Stations  at  the  big- 
gest beaches  along  the 
Atlantic  Coast  use  and 
recommend  Noxzema 
Cream  for  sunburn,  it 
must  be  good. 

Captain  Damico, 
leader  of  the  Atlantic 
City  Beach  Patrol,  says,  "We  have  used 
Noxzema  at  our  First  Aid  Stations  for  seven 
years.  It  takes  all  the  fire  and  pain  out  im- 
mediately— prevents    torturous    blistering." 

No  need  now  to  suffer  the  agony  of  sun- 
burn. To  prevent  it  apply  Noxzema  gener- 
ously before  exposure.  To  relieve  it  apply  a 
thick  layer  of  Noxzema  as  soon  as  possible 
after  burning.  It  is  greasclcss  and  cannot 
stain.   Sold  at  all  drug  and  department  stores. 


126 


Ramon  Novarro  and  his  recent  house  guest,  Grandma  Baber  of  Oak  Park,  III.  This 
visit  followed  years  of  fan  correspondence,  during  which  Grandma  Baber  adopted 
Novarro  as  a  grandson.     Novarro  repaid  her  interest  by  showing  her  Hollywood 

as  his  guest. 


The  Unknown  Charlie  Chaplin 

{Continued  from  page  125) 


say.  He  was  a  ditch-digging  man  of 
the  world,  doomed  to  canker  out  his 
life  in  the  saloons  of  a  miserable  Ohio 
town.  There  was  always  in  his  big 
and  turbulent  and  troubled  old  head  a 
slight  feeling  of  contempt  for  every- 
thing and  everybody.  He  early  incul- 
cated in  me  that  feeling,  and  begged 
me  to  try  like  the  devil  to  compel  life 
to  make  way  for  me.  I  obeyed  the  mag- 
nificent, mud-bespattered  old  brigand, 
and  I  put  him  in  a  book  just  as  he  was 
and  sent  him  to  the  far  corners  of  the 
world.  If  I  whimpered  in  explaining 
myself  now,  he'd  kick  a  board  out  of 
his  coffin. 

CHARLES  CHAPLIN  and  I  quar- 
reled over  a  matter  which  the  in- 
tervening years  have  taught  me  was 
my  fault.  I  was  entirely  to  blame.  But 
growth  is  not  given  to  Irish  mortals  in 
a  day. 

Long  after  we  had  separated,  I  was 
invited  to  the  home  of  Frank  Dazey, 
with  whom  I  was  writing  a  play. 

When  I  arrived,  Mrs.  Dazey  said  to 
me,  "Jim,  I  know  you'll  be  a  good  fel- 
low, as  Charlie  Chaplin  is  coming. 
Marion  Davies  telephoned  and  asked  if 
she  could  bring  him.  I  knew  you  would 
understand." 

Always  self-conscious  in  company,  I 
wondered  how  I  would  act.  The  news- 
papers at  the  time  were  full  of  news 
concerning  our  quarrel. 

Chaplin  arrived  soon  afterward.  He 
was  charming  as  sin.  Never  in  all*  his 
life  had  he  been  more  considerate  with 
me.  In  the  presence  of  all  the  guests, 
he  put  his  arm  about  me.  A  sublime 
actor,  one  can  never  be  sure  when  he  is 
in  or  out  of  a  role.  Cynical  of  most 
things,  I  still  believe  that  he  was  sin- 
cere that  night.  If  not,  he  was  charm- 
ing, which  is  just  as  well. 


Later  in  the  evening  a  charade  was 
played.  Charlie  picked  me  for  his  side. 
In  choosing  a  word,  he  said,  "Let's  pick 
one  of  four  syllables."  And  then  with 
pantomime  and  a  look  of  deep  concern, 
he  said,  "Lord,  I  don't  know  any." 

The  game  over,  many  of  the  guests 
chatted  in  the  living  room.  Wondering 
if  he  had  changed  I  began  to  talk  upon 
a  pathological  subject.  Soon  he  drew 
his  chair  near  mine  and  we  talked  for 
a  long  time.  As  of  old  his  powerful 
mind  wondered  at  subjects  probably 
never  to  be  understood. 

SINCE  meeting  him  at  the  Dazey 
home  I  have  seen  him  but  once. 

At  the  time  of  his  greatest  trouble, 
I  met  him  walking  in  the  gathering 
dusk  down  Sunset  Boulevard. 

His  cap  was  pulled  low  over  his  eyes. 
His  shoulders  were  drooped.  His  hands 
were  shoved  deep  in  his  pockets.  His 
chin  was  buried  c:i  his  chest. 

There  was  no  one  within  a  block  of 
us.  My  first  impulse  was  to  say,  "Hello, 
Charlie,"  and  put  my  arm  about  him. 

I  was  positive  that  he  would  have 
welcomed  me.  And  yet  I  hesitated,  for 
some  unaccountable   reason. 

Soon  his  lonely  figure  melted  into  the 
night.  Somehow  at  the  time  he  re- 
minded me  of  Victor  Hugo's  line  on  Na- 
poleon after  the  battle  of  Waterloo. 
That  Man  of  Destiny  was  found  wan- 
dering aimlessly  in  a  field,  in  Hugo's 
words,  "the  mighty  somnambulist  of  a 
vanished  dream." 

(Next  month  Jim  Tully  toill  de- 
scribe and  analyze  the  great  comedian, 
Charlie  Chaplin,  in  further  detail. 
You  doubtless  read  his  brilliant  de- 
scription of  the  famous  jester  with 
great  interest — and  you  will  want  to 
follow  Mr.  Tully's  summation  in  next 
month's  New  Movie.) 


The  New  Movie  Magazine 


First  Aids  to  Beauty 

(Continued  from  page  102) 


creams  which  you  may  use  both  before 
and  after  the  sunbath.  If  you  get  a 
real  burn — and  the  skin  on  your  arms, 
shoulders  and  face  is  apt  to  be  affected 
first — I  find  that  witch  hazel  is  of  great 
help  in  avoiding  blisters  and  also  in 
reducing  the  fever. 

The  best  procedure  is  to  apply  the 
lotion  and  cream  before  you  don  your 
sunback  suit.  Then,  after  the  sunbath, 
and  before  you  dress,  use  some  sort  of 
cream  or  lotion  again — first  applying 
witch  hazel  if  you  like — and  then 
sprinkle  yourself  with  talcum  powder. 
Your  skin  will  feel  fresh  and  cool  and 
you  will  avoid  any  possibility  of  a  bad 
burn,  unless  you  have  been  too  indis- 
creet about  staying  in  the  sun. 

Many  girls  find  it  difficult  to  use 
make-up  over  a  suntan.  But  the  movie 
actresses  aren't  afraid  of  the  suntan 
because,  in  the  first  place,  they  are 
careful  to  get  an  even  tan  and  because 
the  movie  make-up  can  be  applied 
evenly  and  effectively  on  any  skin,  pro- 
vided that  the  fundamental  texture  is 
good. 

However,  in  summer,  it  is  good  prac- 
tise to  use  a  different  shade  of  make-up 
than  your  winter  shades.  If  your  skin 
is  darker,  you  must  select  a  deeper 
rouge  and  lipstick.  The  more  artifi- 
cial shades  of  rouge,  which  are  all 
right  for  evening  wear  in  winter,  do 
not  go  with  a  summer  complexion. 
Your  powder,  too,  must  be  a  more  natu- 
ral tone  and  the  exotic  shades  of  pow- 
der, which  are  effective  under  electric 
light,  are  naturally  all  wrong  under  the 
summer  afternoon  sun. 

I  HAVE  not  spoken  of  the  health 
aspects  of  the  sunbath.  They  have 
been  too  widely  exploited  to  need  any 
word  from  me.  But  I  should  remind 
you  again,  perhaps,  that  during  your 
summer  vacation  you  may  store  up  a 
precious  element  known  as  Vitamin  D; 
you  may  protect  yourself,  in  the  warm 
days,  against  winter  colds  and  minor 
ailments.  There  are  some  persons, 
doctors  tell  me,  to  whom  sunbaths  are 


dangerous.  There  are  some  malignant 
diseases  which  are  not  helped  by  the 
sun's  rays.  If  you  have  anything  seri- 
ously wrong  with  your  health,  do  not 
take  sunbaths  without  the  doctor's  con- 
sent. It  is  always  well,  just  to  be  on 
the  safe  side,  to  consult  a  doctor  before 
you  go  on  a  vacation. 

But  persons  who  are  inclined  to  colds 
or  who  have  weak  lungs  may  achieve 
immense  benefit  from  the  sun's  rays.  If 
you  are  underweight  or  run  down  or 
nervous,  you  cannot  find  a  better — nor 
cheaper — treatment. 

Elsa  K.,  Savannah,  Ga.  There  is 
no  correct  length  for  the  hair.  The 
extreme  boyish  clip,  however,  is  no 
longer  popular  nor  fashionable.  On 
the  other  hand,  very  long  and  heavy 
hair  is  an  annoyance  because  it  is  hard 
to  arrange  to  fit  under  the  close  hats. 
The  best  bob  is  neither  too  long  nor  too 
short,  but  should  fall  softly  about  your 
head.  As  for  long  hair,  most  girls  are 
content  with  arranging  it  in  a  knot 
placed  low  on  the  back  of  the  neck. 

Mrs.  I.  J.  T.,  East  Orange,  N.  J. 
With  your  hair  and  eyes  you  ought  to 
wear  greens — blue  greens — rose,  brown 
and  warm  tans.  You  should  avoid 
harsh  blues,  black  and  gray. 

Mary  of  Manhattan.  White  is  al- 
ways pretty  for  a  summer  evening 
dress  and  is  especially  becoming  to 
young  girls.  Moreover,  you  are  not  apt 
to  tire  of  it,  and  it  is  less  conspicuous 
than  extreme  colors.  You  are  rather 
young  to  wear  spangles,  but  you  may 
have  a  touch  of  glittering  trimming 
about  the  neckline  or  a  few  beads 
sprinkled  on  the  skirt. 

H.  I.  N.,  San  Francisco,  Calif.  Vase- 
line is  the  best  thing  to  grow  eyebrows. 
Apply  a  little  every  night  and  brush 
your  brows  with  a  small  brush.  If  you 
are  worried  about  your  light  brows, 
you  might  use  an  eyebrow  pencil — a 
light  brown  one — to  line  your  brows. 


THE  NEW  MOVIE  Next  Month  Offers: 

GARY  COOPER,  a  remarkable  character  study]by  DICK 
HYLAND. 

THE  HIGH  HAT  GIRL  OF  HOLLYWOOD,  depicting  one  of 
the  striking  personalities  of  the  movie  colony,  by  ADELA 
ROGERS  ST.  JOHNS. 

HOW  HOLLYWOOD  ENTERTAINS,  more  facts  about  the 
movie  parties,  details  which  will  help  you  entertain. 

THE  NEWEST  IN  FASHIONS,  posed  especially  for  NEW 
MOVIE  by  the  leading  stars. 

AND  DOZENS  OF  OTHER  FEATURES,  TOPPED  BY 
HUNDREDS   OF   BEAUTIFUL   PHOTOGRAPHS. 


Speaking  of  Qirls — 


Flo  Ziegfeld 
whose  "glorification  of  the  American  girl" 
has  received  international  recognition,  says: 

"I find  that  sparkling  hail —  hair  that  catches 
the  lights  of  the  theatre — is  an  invaluable 
addition  to  feminine  beauty.  In  casting  my 
productions,  I  always  keep  this  in  mind." 

The  glory  of  lustrous  hair  may  be  youra 
through  the  use  of  Hennafoam,  the 
shampoo  that  contains  a  pinch  of  henna. 
Buy  a  bottle  at  the  nearest  druggist  or 
get  large  trial  size  at  most  Woolworth 
Stores.     The  Hennafoam  Corporation. 

LIPSTICK 

ROUGE 

and 

PHANTOM 

BROW 


Here    are    three     cosmetics 
that   give   you    pulse-auick- 
ening  charm — the  kind  that 
gets     a     man's    interest — A 
lipstick    that    touches    your    lip 
youth-color,    a    rouge    that    cares 
transparent,    peachdown 
^^~     tifler  that  gives  your  ey 
<5*T\     I'hantom  Bed  Lipstick 
\V',,\\      Eecl  R°uge  Compact, 
%\  \\      for  the  lashes,   75c. 
For  Make-up  Guide, 
tories,     Dept.     230, 
York. 


MARY  PHILB1N 


;  with  the  warm,  vital 
ses    your   cheeks    with    a 

glow — an  eyelash  beau- 
es  silken-fringed  beauty. 

is  50c  and  $1.  Phantom 
75c,   and  Phantom  Brow, 

Same  prices   in  Canada. 

address  Carlyle  Labora- 
67    Fifth    Ave.,     New 


10c  Sizes  at  Woolworth 


^©ffi^ 


Dainty  Vanity  sizes  of 
Phantom  Red  Lipstick 
Rouge  Compart  and  Phan- 
tom Brow,  same  quality 
as  large  sizes,  for  sale 
at  Woolworth  and  other 
leading    chain    stores. 


W^  ^ecorn  »^oZ*V 


LOOK   FOR 

YELLOW  BOX 

WITH    THE 

CELLOPHANE 
WRAPPING 


SOLD  IN  5  &  10/  STORES  FROM  COAST  TO  COASl 

IN  CANADA      15* 
ALLEN  CHEMICAL  CO.  NEW  YORK.  N.  Y. 


127 


The   New    Movie    Magazine 


FRECKLES 


A  Simple,  Safe  Way  to  Get 
Rid  of  These   Ugly  Spots 

There  is  no  longer  the  slightest  need  of 
being  ashamed  of  your  freckles,  since 
it  is  now  an  easy  matter  to  fade  out 
these  homely,  rusty-brown  spots  with 
Othine  and  gain  a  clear,  beautiful  com- 
plexion. 

After  a  few  nights'  tise  of  this  dainty 
white  cream,  you  will  find  that  even  the 
worst  freckles  have  begun  to  disappear, 
while  the  lighter  ones  have  vanished  .en- 
tirely. It's  seldom  that  more  than  an 
ounce  of  Othine  is  needed  to  clear  the 
skin  of  these  unsightly  blotches. 
Be  sure  to  ask  at  any  drug  or  department 
store  for  Othine — double  strength.  It's 
always  sold  with  guarantee  of  money 
back  if  it  does  not  remove  every  last 
freckle  and  give  you  a  lovely,  milk-white 
complexion. 

OTHINE 

DOUBLE  STRENGTH 


CLEAN 

FALSE  TEETH 


Plates  and  Bridseworls 
with    HOPE     DENTCRE 

CLEANSER.  Recommend- 
ed by  Dentists  to  clean, 
beautify  and  sterilize  false 
teeth  plates.  Heals  sore 
gums,  corrects  bad  breath, 
gives  natural  appearance 
to  false  teeth. 

IS  TOUR  FALSE 
TEETH  PLATE  LOOSE? 
HopeDenturePowder  holds 
plates  tight  in  the  mouth — 
so  snug  they  can't  rock, 
drop  or  be  played  with. 

TRIAL  SIZES  CLEANS- 
ER OR  POWDER,  10c 
EACH  —  larger  sizes  at 
Drug  and  Dept.  Stores.  If 
your  dealer  cannot  supply 
you  we  will — send  stamps. 


Dept.  F.  HOPE  DENTURE  CO.,  NEW  TORK 


@  Candy  llkkingf  ^Sfe, 


Homb    Study    Method    for 

ladies   and    men,    taught   by  re- 

i  tired   manufacturer.     Turn   kitchen 

J'into     Candy    Shop.      Many    wealthy, 

began   with   no  capital.     In  Home-made 

f  Candy    business    Little    Fellow    has    ad* 

,  vantage.     We   furnish  tools.     Free  "book. 

Capitol    Candy    School,    Dept.     C-5553, 

Washington.    D.   U 


The  Penalty  of  Beauty 


(Continued  from  page  51) 


called  for  any  acting.  They  did  not 
want  Fay  Lanphier  in  that  picture. 
They  wanted  'Miss  America.'  It  was  the 
first  time  I   ran  into  that. 

"I  wonder  if  you  know  what  it  means 
to  be  wanted  not  for  yourself?  How  it 
feels  to  know  that  people  are  inter- 
ested in  you  not  because  you  are  you, 
but  because  you  are  something-?  Per- 
haps, if  that  something  is  a  real  ac- 
complishment on  your  part,  you  can 
take  pride  in  it  and  so  feel  all  right. 
But  I  couldn't. 

I  WAS  'Miss  America'  only  by  ac- 
cident, by  a  condition  not  of  my 
doing.  /  did  not  build  myself.  I  just 
happened  to  be  like  I  am.  Or  was." 
She  corrected  herself  and  smiled  across 
the  luncheon  table.  And  there  was  no 
apology  for  her  extra  weight  in  that 
smile  and  those  quizzical,  lifted  eye- 
brows. I  asked  her  how  she  happened 
to  get  into  her  first  beauty  contest, 
an  affair  in  Oakland,  California,  spon- 
sored by  Paul  Ash,  who  was  then  play- 
ing in  a  local  motion  picture  theater. 

"It  was  just  a  shot  in  the  dark," 
she  replied.  "I  had  no  hope  of  winning. 
I  merely  wanted  to  do  something,  any- 
thing, to  better  myself.  I  was  in  a  rut 
and  knew  it. 

"I  got  second  in  that  contest;  which 
was  far  better  than  I  thought  I  would 
get  but  not  good  enough  to  be  sent  to 
Santa  Cruz  for  the  state-wide  contest. 
So  I  entered  another  one  in  San  Fran- 
cisco which  started  the  day  after  the 
Oakland  one  closed.  And  they  sent  me 
to  Santa  Cruz. 

"Then  the  trouble  began. 

"I  looked  over  that  group  of  girls — 
the  pick  of  the  entire  state  of  Cali- 
fornia— and  the  old  inferiority  complex 
came  to  the  top.  I  knew  darn  well  I 
had  no  business  being  there  among 
those  beauties.  I  did  not  rate  it.  I  was 
just  Fay  Lanphier. 

"When  the  time  came  for  me  to  walk 
out  upon  the  stage  and  be  judged  I 
could  not  do  it.  I  got  stuck  in  the 
wings.  My  legs  just  would  not  func- 
tion; would  not  carry  me.  I  was  scared 
stiff  and  showed  it.  I  know  I  had  goose- 
flesh  all   over  me. 

"'TpHE  man  who  had  put  on  the  San 

A  Francisco  contest  was  standing  in 
the  wings  with  me.  He  was  talking  to 
me,  but  I  could  hardly  hear  what  he 
was  saying.  Finally  he  gave  me  a  push 
which  sent  me  out  onto  the  stage  and 
yelled  into  my  ear  as  he  did,  'Smile  all 
the  time,  Fay.  And  KEEP  MOVING! 
Don't  stand  still  out  there.  SMILE,  do 
you  hear?' 

"There  seemed  to  be  a  million  people 
in  that  audience,  and  all  I  could  think 
of  was  to  smile  and  keep  moving.  I 
did.  I  smiled  and  smiled,  and  moved 
around  and  around.  And  for  some  un- 
known reason  the  audience  suddenly 
burst  into  a  roar  of  applause. 

"I  won  that  contest  and  they  sent 
me  to  Atlantic   City. 

"But  before  I  went  I  had  the  best 
time  I  have  ever  had  from  any  of  the 
contests    or    any   of   the    glory    gained 


from  them.  I  realize  that  now.  I  went 
on  a  clothes  orgy.  Buying  a  complete 
outfit  —  lovely  evening  dresses,  filmy 
afternoon  frocks,  traveling  suits, 
everything.  It  was  the  first  time  in  my 
life  I -had  been  near  such  clothes  and 
believe  me  it  was  fun.  And  I  did  not 
have  to. pay  for  a  single  stitch  of  them. 
The  contest  people  paid  for  them  all. 

"I  did  not  win  at  Atlantic  City  that 
year,  but  I  stayed  in  the  contest  long 
enough  so  that  they  recognized  me 
when  I  came  back  the  following  year, 
1925.  And  I  think  that  helped  me  win 
it.    Anyway,  I  did. 

"Then  trouble  came  in  earnest. 

"Long  months  of  going  here  and 
there.  Stage  appearances.  That  terri- 
ble flop  in  pictures.  Style  shows. 
Dances.     Rush,  worry  and  fear. 

"Rush,  because  if  you  were  late  or 
did  not  put  in  an  appearance  when 
asked — no  matter  how  many  places — 
people  would  be  mad  and  say  you  were 
high-hat.  Worry  because  no  matter 
where  I  went  I  was  continually  on 
parade.  Fear  because  I  was  afraid 
people  would  be  disappointed  in  me.  I 
was  'Miss  America.'  Judged  to  be  the 
most  beautiful  girl  in  the  United 
States,  which  I  never  felt  I  was.  And 
I  was  always  afraid  people  would  agree 
with  me  too  much. 

I  DON'T  think  —  unless  you  have 
actually  had  it  happen  to  you — that 
you  can  possibly  know  what  it  means 
to  be  continually  on  exhibition.  Never 
to  be  able  to  go  into  a  restaurant  with- 
out having  everyone  stare  at  you  as 
you  eat;  never  to  be  able  to  go  to  a 
dance  without  having  every  woman  in 
the  place  size  you  up  and  every  man 
look  you  over  with  a  critical  eye;  never 
to  be  able  to  go  to  one  place  from  an- 
other without  a  fanfare  of  publicity." 

Fay  Lanphier's  eyes  seemed  to  be  fo- 
cused upon  something  at  a  great  dis- 
tance as  she  spoke.  She  remained  silent 
for  a  moment.  Then  she  gave  a  little 
laugh. 

"I  thought  those  things  would  be 
perfect  —  once,"  she  said.  "But  not 
after  I  had  them.  I  don't  think  any 
normal  girl  would." 

So  she  gave  them  up.  Willingly. 
Gladly.  Despite  the  fact  that  with 
the  physical  heritage  that  is  hers  she 
could  have  remained  "Miss  America" 
or  very  close  to  that  august  person 
for  many  years,  basking  in  the  spot- 
light of  masculine  admiration  and 
feminine  envy  which  is  always  given 
the  girl  who  is  handed  the  wreath  as 
America's  "most  beautiful." 

"In  one  way,"  Fay  Lanphier  said, 
"it  was  as  great  a  struggle  to  give  up 
being  a  beauty  as  it  was  a  relief.  It  is 
not  easy  to  do  something  you  know  will 
cause  you  to  be  talked  about — and  not 
in  any  complimentary  way.  Because  I 
was  'Miss  America'  people  expect  me  to 
be  beautiful.  When  I  am  not  they 
talk — I've  heard  them. 

"  'Why  look  at  the  size  of  her,  my 
dear!  She  weighs  a  ton!'  I  overheard 
that  sweet  remark  in  a  dressing  room 
the  other  day.     Well,  I  am  heavy  and 


Why  waste  an  evening  in  the  movie  theaters?       Follow  the 
reviews   in   NEW  MOVIE    and   save   your  time   and   money. 


128 


The    New   Movie   Magazine 


leant  to  Dance 

This  New  Easy  Way 

You  can  learn  all  the  modern  daaces— 
Charleston.  Black  Bottom,  Valencia,  Can- 
ter, French  Tango.  St.  Louis  Hop,  Latest 
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and  usually  sells  out  shortly 
thereafter. 


THE 


NEW     MOVIE 
MAGAZINE 


I  don't  care  who  knows  it.  Because 
with  that  weight  I  have  put  on — nearly 
thirty  pounds — has  come  great  relief. 
I  am  no  longer  'Miss  America.'  No 
longer  competing  for  beauty  prizes. 
No  longer  worrying  about  whether  I 
am  looking  just  right.  I'm  no  longer 
in  the  race. 

"I'm  just  Fay  Lanphier  again — and 
happy." 

She  told  me  that  she  was  really  too 
heavy.  But  that  for  a  while  she  en- 
joyed being  that  way.  "For  the  same 
reason,  I  suppose,"  she  said,  "that  a 
person  dying  of  thirst  would  overdrink 
when  he  first  got  at  a  tank  full  of 
water."  She  weighs  157  now.  She 
tipped  the  scales  at  128  when  she  was 
"Miss  America."  She  is  a  tall  girl,  and 
even  the  additional  weight  cannot  hide 
the  fact  that  she  is  proportioned  along 
the  lines  so  admired  by  the  ancient 
Greek  sculptors.  She  said  ten  or  twelve 
of  those  pounds  were  coming  off.  Not 
because  she  cares  how  she  looks,  but 
merely  because  she  thinks  them  too 
much  to  carry  during  the  heat  of  the 
summer. 

"I'm  through  working  my  head  off 
for  the  sake  of  my  appearance.  You'll 
never  catch  me  getting  the  same  ail- 
ments some  of  the  girls  who  win  beauty 
contests  work  themselves  into.  Fif- 
teen pounds  overweight  is  more  healthy 
than  ten  pounds  underweight.  So  that 
is  that.  If  they  want  me  for  the  stage 
as  I  am,  all  right.  If  not,  that  is  all 
right,  too.  Work  is  all  I  want  now. 
Being  'Miss  America'  has  been  a  won- 
derful experience.  It  has  given  me  a 
background  I  could  not  have  gained 
otherwise.  Now  that  it  is  behind  me 
I  am  glad  I  did  it.  But  I  do  not  want 
to  do  it  again." 

I  LOOKED  at  this  girl  and  wondered. 
Here  she  was  in  a  studio  lunch- 
room. She  was  one  of  a  hundred  ste- 
nographers on  the  lot.  Fay  Lanphier, 
who  had  been  judged  the  most  beautiful 
girl  in  America.  She  was  attractive — 
very — yet.  But  a  great  part  of  that  at- 
tractiveness was  her  perfect  ease  of 
manner,  her  restfulness,  her  joy  of  liv- 
ing. She  ate  what  she  wanted  and  how 
she  wanted.  She  had  not  a  care  or  re- 
gard about  whether  or  not  strangers 
were  looking  at  her.  She  was  herself, 
completely  relaxed. 

And  then  I  looked  around  that  lunch- 
room. Here  and  there  was  a  star. 
Among  their  own  kind,  in  a  studio 
noon  hour,  they  could  relax  if  ever. 
Some  of  them  looked  as  if  they  were. 
But  not  one  of  them  had  the  carefree 
ease  of  manner  possessed  by  Fay  Lan- 
phier. Each  and  every  one  of  them 
was  conscious,  perhaps  but  subcon- 
scious, that  someone  they  did  not  know 
was  looking  at  them,  judging  them;  and 
no  one  being  judged  on  sight  by  a 
stranger  can  be  relaxed  or  completely 
natural. 

Thinking  over  what  I  had  just  been 
told  by  Fay  Lanphier  about  the  worry 
and  fear  which  go  hand  in  hand  with 
such  a  situation,  I  wondered  if  the  large 
salaries  given  some  of  the  motion  pic- 
ture stars  made  up  for  that  being  con- 
tinually on  parade,  that  curse  of  never 
being  able  to  relax  in  public. 

I — well,  no  matter  what  I  thought 
about  it.  We  can  have  one  definite 
answer.  Fay  Lanphier,  having  had  the 
glory,  the  additional  dollars  which  go 
with  the  spotlight  of  fame,  has  decided 
that  the  prize  is  not  worth  the  game. 
She  desires  not  to  be  "Miss  America"; 
she  wants  to  be  plain  Fay  Lanphier. 
Who  can  say  she  is  wrong? 


They  Used  to  Call 
Me 
"FAT 
EMMA" 


The  Personal 

Story  of 

Emma  Courtney 


"I  will   never  forget  the  un- 
happy days  when  as  a  'fat  girl' 
I  was  the  butt  of  all  my  friends' 
jokes.     They  referred  to  me  as 
'heavyweight,'        'Fat    Emma' 
and  other  odious  names.    They 
never    knew    how    deep    these 
jokes  cut  into  my  feelings.    But 
as   I   look   back,   I   am   certain 
that  my  friends  were   right,   I 
was  fat.    Almost  every  dress 
I   put  on   soon   burst  at  the 
seams.      Carrying   so    much 
weight    tired    my    legs    and 
weakened   my    ankles   so   I 
had   no  energy   left  at  the 
end     of      the      day.' 
Although   young  and   pretty,   I  found  out  that    young 
men  did  not  care  for  'fatties.' 

"I  was  anxious  to  reduce,  but  everyone  warned  me 
against  the  ill  effects  that  follow  from  the  use  of  'anti-fat* 
nostrums  and  violent  exercising  machines.  I  was  des- 
perate and  didn't  know  what  to  do. 

"Then  a  kind  friend  told  me  of  Miss  Annette  Keller- 
mann  and  her  wonderful  reducing  methods.  Interested 
at  once  I  wrote  her  and  soon  received  her  fascinating 
book,  'The  Body  Beautiful,'  and  a  lovely  personal  letter 
explaining  her  course  in  detail  and  how  I  could  easily 
reduce  six  to  eight  pounds  a  month — safely.  I  followed 
her  instructions.  In  a  few  months  I  regained  my  youth- 
ful figure  and  have  kept  it  ever  since.  Life  is  once  more 
worth  living." 


Simply  write  to  Miss  Kellermann  for  her  new  book 
"The  Body  Beautiful,"  and  you  will  be  told,  without 
obligation,  all  about  her  methods  of  reduction  in  a 
sane,  sensible,  beneficial  way — the  way  that  will  increase 
your  vitality  and  your  strength,  as  it  did  Miss  Court- 
ney's. Send  the  coupon  today.  Address  Annette  Keller- 
mann.   Suite  856,  225  West  39th  Street,  New  York  City. 

Annette  Kellermann,  Suite  856 

225  West  39th  Street,  New  York  City 

Dear  Miss  Kellermann: 

Kindly  send  me  entirely  without  cost,  your  new  book, 
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The   New   Movie    Magazine 


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Lillian  and  Anne  Roth  came  together  professionally  for  the  first  time 

in  several  years  during  the  making  of  Cecil  De  Mille's  "Madame  Satan." 

For  years  the  popular  Roth   Sisters  played  successfully  in  vaudeville. 

Then  Lillian  scored  in  pictures  and  the  two  trod  separate  paths. 


Up  From  Poverty  Row 

(Continued  from  page  67) 


TF  anything,  she  was  more  beautiful 
■*-  off  the  dance  floor  than  she  was  on 
it.  It  was  hard  for  us  to  believe  that 
possible,  but  it  was  true.  And  we  found 
further  that  Dorothy  Valergo  was  a 
darned  fine  kid.  As  fine  a  kid  as  Doro- 
thy Revier  was  to  look  at. 

She  was  a  native  daughter,  born  in 
San  Francisco  and  educated  there  and 
in  Oakland,  across  the  Bay.  She  had 
just  finished  high  school  and  turned  to 
dancing  as  naturally  as  a  duckling 
turns  to  water.  Her  father  had  been 
a  musician,  her  aunt,  Ida  Valergo,  an 
opera  singer.  Dorothy  Valergo,  half 
English,  half  Italian,  had  heard  music 
in  her  house  from  the  day  she  was  old 
enough  to  listen.  And  from  the  time 
she  could  first  toddle  she  had  danced 
to  that  music.  Little,  childish  things 
at  first.  Meaningless  except  that  they 
showed  a  desire  for  the,  expression 
which  flowed  naturally  into  a  dance. 
Later  came  actual  training.  Russian 
and  Italian  ballet,  aesthetic,  eccentric. 

The  Dorothy  Valergo  we  knew  then 
had  no  thought  of  Hollywood.     In  fact 


she  had  little  thought  of  the  future  at 
all.  She — had  she  thought  about  it  at 
all — might  have  pictured  herself  a  fa- 
mous dancer.  But  the  mere  joy  of  liv- 
ing concerned  her  most.  I  rather  think 
we  were  all  that  way  at  that  age.  But 
sooner  or  later  we  pick  ourselves  a 
course,  or  have  it  picked  for  us,  and 
things  begin  to  happen.  They  did  to 
Dorothy  Revier. 

A  MAN  named  Harry  Cohn  saw  her 
dancing,  talked  to  her,  and  signed 
her  name  to  a  contract.  Dorothy  Re- 
vier was  to  go  to  Hollywood  and  be- 
come a  motion  picture  star.  Cohn  had 
said  so  and  there  was  the  contract. 
For  a  time  after  that  Harry  Cohn  ap- 
peared to  have  been  an  Evil  One.  For 
he  took  Dorothy  Revier  from  her  danc- 
ing, took  her  from  home  and  the  beauti- 
ful surroundings  of  Tait's. 

And  brought  her  to  Poverty  Row. 

Hollywood  has  a  glamor,  justly 
earned.  It  spends  money  like  a  drunken 
sailor,  it  revels  in  exhibitions  of  gor- 
geousness   never  rivaled   by  the   kings 


Who  is  the 

High  Hat  Girl 

of  Hollywood? 

Adela  Rogers  St.  Johns  will  tell  you  al 

about  her  in  an  early  issue 

of  NEW  MOVIE  MAGAZINE. 


130 


The   New   Movie   Magazine 


of  France  at  Versailles  and  Fontaine- 
bleau.  Hollywood  has  automobiles 
twenty-two  feet  long,  Hollywood  has 
butlers  and  chauffeurs  and  maids.  This 
was  the  way  Dorothy  pictured  it  all. 
She  thought  and  dreamed  that  she  was 
to  become  a  part  of  it. 

Any  girl,  starting  out  for  the  Holly- 
wood she  had  imagined  and  finding  her- 
self on  Poverty  Row,  can  be  excused 
for  appearing  stunned.  Dorothy  Re- 
vier  was,  those  first  few  months. 

The  saving  of  pennies  where  she  had 
thought — any  girl  would — she  was  com- 
ing to  the  grandeur  of  Hollywood — it 
was  a  shock.  But  she  did  not  quit,  nor 
did  she  tear  up  her  contract  and  return 
to  her  dancing.  Having  started,  she 
stuck. 

During  the  days  that  followed,  Doro- 
thy Revier  was  Poverty  Row's  one  con- 
stant figure  before  the  camera.  Other 
newcomers  broke  in,  became  disgusted 
and  departed;  former  stars,  great 
names  rapidly  sliding  to  obscurity, 
came  to  the  Row  for  work  which  would 
enable  them  to  eat.  They,  too,  quickly 
passed;  Dorothy  Revier  - —  remember 
where  we  saw  her  first  in  all  her  love- 
liness— spent  two  unrecognized  years  in 
this  atmosphere  of  cheapness  and 
squalor. 

AT  the  end  of  that  time  she  was  the 
undisputed  Queen  of  Poverty  Row. 

But  she  was  a  queen  without  a 
name.  Hollywood  did  not  know  her,  al- 
though Hollywood  knows  many  people. 
The  public  did  not  know  her,  although 
every  time  they  saw  her  picture  they 
remembered  her  as  the  pretty  girl  they 
had  seen  somewhere,  sometime,  before. 
Hollywood  did  not  know  her  because 
Hollywood  considered  it  not  the  thing 
to  do — to  know  anyone  on  Poverty 
Row.  The  public  did  not  know  her 
because  publicity,  that  intangible,  val- 
uable commodity  which  makes  so  many 
names  great,  was  a  thing  unknown  on 
the  Row.  The  Row  had  barely  enough 
money  to  make  pictures,  much  less  ex- 
ploit actors  and  actresses. 

Dorothy  Revier  lived  quietly  alone, 
as,  being  that  sort  of  a  person,  she  pre- 
ferred. If  she  has  a  hobby,  which  she 
denies,  it  is  music.  A  thing  easily 
understood  when  you  remember  that 
Dorothy  Revier  is  a  Valergo.  At  times 
she  would  have  a  few  people  in  for  an 
evening  of  singing.  For  the  most 
part,  however,  all  she  did  was  work. 
All  any  one  on  Poverty  Row  did  was 
work.  Work  made  up  for  the  handicap 
of  lack  of  money. 

One  night  a  big-time  producer,  seeing 
one  of  his  pictures  previewed  in  a  small 
neighborhood  theater,  caught  a  glimpse 
of  Dorothy  Revier  on  the  silver  screen 
during  the  picture  which  preceded  his. 
He  asked  who  she  was;  told  his  secre- 
tary to  get  her  to  come  to  his  studio. 
Dorothy  Revier  came.  The  next  day 
Harry  Cohn,  very  wisely  as  is  his 
wont,  had  given  his  permission  for  her 
to  play  in  one  of  the  big  producer's 
pictures. 

It  was  the  start  up.  Dorothy  Revier, 
brought  to  the  attention  of  the  larger 
studios,  worked  twenty-one  weeks  out 
of  the  nine  months  off  Poverty  Row — 
at  a  thousand  dollars  a  week.  Big 
money  for  a  player  under  contract  to 
a  Poverty  Row  producer. 

THEN    the    talkies    descended    upon 
Hollywood  and  turned  the  industry 
upside  down  over  night. 

When  the  uproar  had  quieted  a  bit, 
Dorothy  Revier  found  that  she  had 
come  to  the  end  of  her  reign  as  Queen 
of  Poverty  Row.    She  had  graduated. 


Harry  Cohn  pictures  were  no  longer 
made  on  Poverty  Row.  Columbia  Pic- 
tures (Harry  Cohn's  company)  had  a 
schedule  as  long  and  as  impressive  as 
any  studio's.  Players  were  borrowed 
from  First  National,  Paramount,  and 
M-G-M.  just  as  those  studios  borrowed 
from  each  other.  Money  is  needed  for 
that.  Columbia  Pictures  now  had 
money  and  having  it  they  were  no 
longer  on  Poverty  Row. 

Harry  Cohn  was  as  happy  as  a 
baby  with  a  new  rattle  when  the  talkies 
appeared.  He  knew  that  all  of  Holly- 
wood had  suddenly  been  put  upon  one 
level.  No  one  knew  anything  about 
talking  pictures. 

"Work,"  he  said,  "work  is  the  thing 
now.  And  Columbia  Pictures  will  get 
a  break  there  because  I  can  and  will 
work  harder  than  any  of  the  big  or 
little." 

Columbia's  list  of  stars  and  produc- 
tions today  proves  the  wisdom  of  that 
statement  of  Cohn's.  Columbia  is  far 
from  Poverty  Row  today.  Its  rise, 
made  possible  by  Harry  Cohn,  is  one  of 
the  romances  of  modern  Hollywood. 

And,  coupled  with  it  is  Dorothy  Revier. 

THOSE  long  years  of  work,  work, 
work.  Those  hard  months  on  Poverty 
Row  are  telling  now.  Dorothy  Revier 
knows  what  it  means  to  work,  and  does. 
Temperament  is  foreign  to  her.  Which 
double  reason  is  partially  responsible 
for  the  fact  that  producers  are  break- 
ing their  necks  today  trying  to  get 
Dorothy  Revier  into  their  pictures. 

Dorothy  Revier  is  not  a  star.  She 
says  she  does  not  particularly  want  to 
be.  "It's  more  fun  to  just  work,"  she 
told  me. 

It  is  strictly  in  character  for  Dorothy 
Revier  to  have  been  married  for  a  full 
year  before  anyone  knew  it.  To  Charlie 
Johnson,  a  Los  Angeles  business  man. 

And — looking  at  her  beauty — it  is 
also  in  character  for  her  to  be  follow- 
ing in  the  footsteps  of  the  immortal 
Barbara  La  Marr. 

Barbara  had  little  fame  in  Holly- 
wood until  Doug  Fairbanks,  after  scour- 
ing the  town,  cast  her  as  Milady  in 
"The  Three  Musketeers."  Then  she 
started  the  rise  which,  after  a  time  of 
schooling,  flashed  her  across  the  screen 
as  the  most  beautiful  woman  in  Holly- 
wood. 

DOROTHY  REVIER,  although  she 
had  been  in  Hollywood  two  years, 
was  very,  very  little  known  until  that 
same  Doug  Fairbanks  started  to  make 
the  sequel  to  "The  Three  Musketeers," 
"The  Iron  Mask."  And  then  he  started 
another  search,  because  Barbara  was 
dead  and  he  needed  a  Milady. 

Stars  submitted  to  tests  they  would 
have  scorned  for  any  other  man  than 
Fairbanks,  extras  hung  about  his  studio 
hoping,  hoping,  that  he  would  see  them 
as  he  had  the  great  Barbara.  Produc- 
tion was  held  up.  Doug  would  not  start 
until  he  had  the  one  person  he  was 
seeking. 

He  finally  found  Dorothy  Revier. 

I  know  I  could  have  sa.ved  Doug  a 
lot  of  trouble  had  he  asked  me  who  to 
get  to  play  the  part.  Because  I  would 
have  thought  at  once  of  the  beautiful 
vision  who  floated  out  onto  the  floor  at 
Tait's,  who  came  to  Hollywood  and 
buried  herself  in  the  drabness  of  Pov- 
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who  survived  those  years  and  has 
emerged  one  of  the  most  popular  act- 
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And  I'm  telling  you  now.  Keep  an 
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started. 


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Bridal  trousseaux  as  they  are  revealed  in  "Our  Blushing  Brides,"  Joan  Crawford's  newest  starring  vehicle.     Joan 
may  be  glimpsed  in  the  center  of  the  group.      Also  present  are  Gwen  Lee,  Mary  Doran  and  Catherine  Moylan. 

We    Have   With    Us    Tonight 


J  EW  AYRES:  Friends,  I  will  now 
■*-*  introduce  the  youngest  and  shyest 
guest  of  the  evening— LEW  AYRES 
himself. 

Lew  Ayres  appeared  in  public  for 
the  first  time  at  2927  West  44th  Street, 
Minneapolis,  Minnesota,  and  the  date, 
if  you  wish  to  make  a  note  of  it,  was 
December  28,  1908. 

Lewis  Ayres  was  his  name,  his 
father  also  being  Lewis  Ayres,  but 
when  he  started  to  school  he  changed  it 
to  "Lew"  Ayres  because  the  other  boys 
at  school  called  him  "Loose  Airs,"  and 
so  that's  how  it  all  came  about. 

When  he  was  ten  years  old  he  picked 
up  and  moved  to  San  Diego,  California, 
and  was  soon  in  high  school.  Up  to 
this  time  he  had  been  regarded  as  nor- 
mal in  every  way,  and  then  it  was 
noticed  he  was  acting  queerly.  A  few 
days  later  it  was  discovered  what  was 
the  matter — he  wanted  to  become  a 
banjo  player. 

His  mother  was  a  proud  woman,  and 
bore  up  bravely  and  heroically,  al- 
though goodness  knows  a  canker  must 
have  been  eating  at  her  heart. 

After  graduating  from  the  San 
Diego  High  School,  he  went  to  the  Uni- 
versity of  Arizona  and  played  the 
banjo,  in  spite  of  all  that  could  be  done, 
and  while  the  tears  rolled  down  his 
mother's  face. 

The  itch  to  get  into  pictures  began 
to  gnaw  at  Lew,  and  packing  up  his 
banjo  he  came  to  Hollywood  and  got 
a  job  playing  in  the  orchestra  at  a  cafe 
where  the  movie  people  go. 

He  was  seen,  was  given  his  chance, 
and  now  managers  knock  each  other 
down  in  the  street  to  get  his  signature. 

Girls,  I  have  good  news  for  you.  He 
is  not  married,  and  lives  alone  in  an 
apartment  in  Hollywood.  He  is  easy  to 
cook  for,  and  does  not  throw  cigarette 
ashes  on  the  floor.  Send  telegrams 
prepaid. 

132 


{Continued  from  page  57) 

-fcTORMA  SHEARER:  My  friends 
-iY  and  fellow  banqueters,  you  no 
doubt  have  given  a  great  deal  of 
thought  to  the  question  of  what  be- 
comes of  all  the  pretty  girls  who  have 
danced  with  the  Prince  of  Wales.  Well, 
the  answer  is  before  us  tonight  as  we 
gather  around  this  table. 

They  grow  up  and  become  great 
movie  stars.  Or,  at  least,  one  of  them 
did. 

I  refer,  of  course,  to  Norma  Shearer, 
who  once  made  the  Prince  of  Wales 
think  Canada  was  the  finest  country  in 
the  world. 

Norma  Shearer  made  her  bow  to  the 
public  at  507  Grosvenor  Avenue, 
Montreal,  Canada,  on  August  10,  1904. 

And  this  is  her  real  name,  for  Norma 
is  not  one  of  those  persons  who  thinks 
she  has  to  go  to  a  solemn  looking  lady 
in  a  turban  and  have  her  name 
changed  in  order  to  succeed. 

Norma  remained  quietly  at  home, 
living  on  a  liquid  diet,  and  going  out 
but  little  and  then  usually  on  a  pillow. 
But  at  last  she  grew  up,  as  girls  in 
Canada  will. 

It  was  when  she  was  a  student  in  the 
Westmount  High  School  that  she 
danced  with  the  Prince  of  Wales. 

After  a  time,  Norma  crossed  the 
Wine  and  Liquor  Line  and  came  down 
to  New  York.  Slim  pickings  at  first, 
with  most  of  her  housekeeping  done  out 
of  a  paper  bag,  but  at  last  somebody 
with  sense  saw  her  and  put  a  blank 
contract  in  front  of  her  and  turned  his 
back. 

Her  theme  song  then  was,  "Goodbye, 
Broadway — Hollywood,  Here  I   Come." 

Now  comes  the  bad  news,  boys.  She 
belongs  to  another  man,  the  sad  day 
having  been  September  29,  1927.  The 
lucky  dog  is  Irving  G.  Thalberg,  a  big 
shot  at  the  M-G-M  studios.  It  would 
be  just  like  him  to  live  to  be  a  hundred. 
Otherwise,  hooray  for  Norma. 


So  when  you  think  of  Norma,  think 
of  a  Canadian  girl  who  danced  with  the 
Prince  of  Wales,  and  who  now  walks 
at  the  top  of  her  profession. 

JDAMON  NOVARRO:  Girls,  this 
■tv  ought  to  be  a  wonderful  evening 
for  you,  as  we  have  with  us  tonight 
two  bachelors — all  rich,  all  handsome 
and  all  willin'.  The  other  is  RAMON 
NOVARRO. 

Look  on  him  as  he  sits  there  so  ner- 
vously playing  with  his  knife  and  you 
will  see  an  unusual  person — a  Mexi- 
can movie  star  who  has  never  pre- 
tended he  was  Spanish.  Hollywood  is 
full  of  noble  and  aristocratic  Spaniards 
— from  Tia  Juana  and  points  south. 
Another  queer  thing  about  him  is  that 
his  father  didn't  have  a  ranch  of  a 
million  acres.  So  rest  your  eyes  on 
him — he's  one  in  a  million. 

His  first  appearance  as  Ramon  Gil 
Sameniegos,  on  the  stage  of  life  was 
at  Durango,  Mexico,  and  the  date  of 
his    premiere    was    February    6,    1900. 

The  3999th  revolution  came  along  in 
Mexico,  and  the  Sameniegoses,  or  how- 
ever it  is,  had  to  clear  out.  Ramon 
went  to  El  Paso  and  then  drifted  into 
Hollywood.  Hollywood  did  not  wel- 
come him  with  open  arms.  While  in 
Mexico  Ramon  had  developed  the  habit 
of  eating  and  this  clung  to  him  after 
he  arrived  in  Hollywood.  Finally  he 
got  a  job  in  a  restaurant,  singing 
"Poor  Butterfly."  He  could  have  put 
more  feeling  into  "Poor  Tummy." 

And  now  he  has  a  French  valet! 

Also  in  his  house,  where  he  lives  with 
his  mother  and  other  members  of  his 
family,  he  has  a  private  theater  with 
ushers.  But  he  doesn't  live  in  Holly- 
wood, where  most  of  the  movie  stars 
live,  but  in  Los  Angeles  like  the  rest 
of  Southern  California,  and  the  exact 
address,   girls,  is   2263   West  22nd   St. 

Good  luck,  girls! 

EDWAED  LANGEB  PRINTING  CO.,  INC.,  JAMAICA,  X.  Y. 


A    LITTL 


E     KISS 


EACH    MORNING 


P  f0* 


\ 

L    i ' 

1          1 

iL 

,  -t  ■ 

UNCLEAN  TASTE  "...did  your  mouth  have  it  this 
morning?  No  one  is  safe  from  it,  except  perhaps  in  baby* 
hood.  Brushing  your  teeth  won't  remove  it.  It's  most 
disagreeable,  but  there's  an  agreeable  way  to  end  it.  A 
quick  mouth-rinse  of  GLYCO-Thymoline  is  the  certain, 
pleasant  way  to  mouth  freshness. 

GLYCO-Thymoline  is  soothing,  non-irritating  and  ef- 
fective and  because  it  is  an  alkaline  solution  it  helps 
to  restore  normal  taste  to  the  mouth. 

GLYCO-Thymoline  is  different.  Do  not  confuse  it  with 
highly  flavored  mouth  washes  that  merely  replace  one 

GLYCO 

THYMOLINE 

RESTORES        NORMAL        TASTE 


but ...  be  sure  your 
mouth  is  sweet  and 
clean  as  baby's  — 


taste  with  another.  Neither  should  you  use  harsh,  sting- 
ing solutions  upon  the  tender  membranes  and  glands 
of  your  mouth.  Do  not  irritate  or  attempt  to  spur  them 
into  action... but  let  GLYCO-Thymoline  help  them 
function  pleasantly,  naturally,  normally.  As  safe  to  use 
in  baby's  tender  mouth  as  in  your  own. 

For  these  reasons  alone  GLYCO-Thymoline  earns  a 
place  in  every  bathroom  cabinet.  But  GLYCO-Thymoline 
has  other  and  equally  important  uses.  It  quickly  re- 
lieves soreness . . .  that  dry,  tickling  feeling  in  the  throat. 
It  keeps  the  voice  clear 
and  normal... free  from 
huskiness. 

Physicians  and  Dentists 
have  prescribed  GLYCO- 
Thymoline  for  over  30 
years.  They  will  tell  you 
your  mouth  wash  should 
be  alkaline!  Use  it  daily 
when  you  brush  your 
teeth.  At  all  Druggists. 
Kress  &  Owen  Co.,  NewYork 


'Amt\ 


'COMING  EVENTS  CAST 
THEIR  SHADOWS  BEFORE" 

{Qhomas  Campbell,  1777- 1844) 


&£ 


Reach 
for  a 

LUCKr 


AVOID  THAT 
FUTURE  SHADOW 

by  refraining  from  over- 
indulgence, if  you  would 
maintain  the  modern  fig- 
ure of  fashion 

We  do  not  represent  that 
smoking  Lucky  Strike  Ciga- 
rettes will  bring  modern  figures 
or  cause  the  reduction  of  flesh. 
We  do  declare  that  when  tempt- 
ed to  do  yourself  too  well,  if 
you  will  "Reach  for  a  Lucky" 
instead,  you  will  thus  avoid 
over-indulgence  in  things  that 
cause  excess  weight  and,  by 
avoiding  over-indulgence,main- 
tain  a  modern,  graceful  form. 


"*1  \l£i 


'&$£§?>■ 


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It's  toasted 

Your  Throat  Protection  —  against  irritation  —  against  cough 


©1930.  The  American 
Tobacco  Co.,  Manufacturers 


10 


. 


LEILA 
HYAMS 


LOOKING 
INTO  THE 

STARS' 

SALARY 
ENVELOPES 


HOME  TOWN  STORY  of  RUDY  VALLEE 


ftOAj* 


LION 


Rq 


ANNOUNCES     THE     GREATEST 


Chaney 


HP* 


Joan 
Crawford 


John 
Gilbert 


Metro-Goldwyn-Mayer  will  again  demonstrate  that  it  is  the  greatest 
producing  organization  in  the  industry.  The  company  that  has  "more 
stars  than  there  are  in  heaven" — the  greatest  directors  —  the  most 
famous  composers — the  most  marvelous  creative  and  technical  resources 
—  pledges  itself  to  continue  producing  pictures  as  wonderful  as  THE 
BIG  PARADE,  BEN  HUR,  THE  BROADWAY  MELODY,  MADAME  X, 
HOLLYWOOD  REVUE,  OUR  DANCING  DAUGHTERS,  THE 
ROGUE  SONG,  ANNA  CHRISTIE,  THE  DIVORCEE— to  mention 
only  a  few  of  the  great  M-G-M  pictures  that  have  taken  their 
place  in  Filmdom's  Hall  of  Fame.  No  wonder  Leo  roars  his  approval  as  he 
looks  forward  to  the  greatest  year  Metro-Goldwyn-Mayer  has  ever  had! 


Moore     Ljk 


METRO-GOLD 

"More    Stars    Than 


The  New  Movie  Magazine 


METRO-GOLDWYN-MAYER 


PRODUCTION    SCHEDULE    IN    ITS   HISTORY 


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FEATURED 
PLAYERS 

Wallace  Beery 
Charles   Bickford 
Edwina  Booth 
John  Mack  Brown 
Lenore  Bushman 
Harry  Carey 
Karl   Dane 
Mary  Doran 
Cliff  Edwards 
Julia   Faye 
Gavin   Gordon 
Lawrence  Gray 
Raymond   Hackeii 
Hedda   Hopper 
Lottice   Howell 
Leila   Hyams 
Kay  Johnson 
Dorothy  Jordan 
Charles  King 
Arnold  Korff 
Harriett  Lake 
Mary  Lawlor 
Gwen   Lee 
Barbara  Leonard 
Andre  Luguet 
George  F.  Marion 
Dorothy  McNulty 
John   Miljan 
Robert  Montgomery 
Catherine  Moylan 
Conrad   Nagel 
Edward   Nugent 
Elliott   Nugent 
J.  C.  Nugent 
Catherine  Dale  Owen 
Anita   Page 
Lucille   Powers 
Basil   Rathbone 
Duncan   Renaldo 
Gilbert  Roland 
Benny   Rubin 
Dorothy  Sebastian 
Gus  Shy 
Lewis  Stone 
Raquel   Torres 
Ernest  Torrence 
Roland   Young 

DIRECTORS 

Lionel 
Barrymore 
Harry    Beaumont 
Charles  Brabin 
Clarence    Brown 
Jack  Conway 
Cecil    B.  DeMille 


A  few  of  the  big  pictures   to  come 

Ramon  NOVARRO 

"Madame  Satan" 

The  Singer  of  Seville 

(Directed  by 

Cecil  B.  DeMille) 

Greta  GARBO 

"Red  Dust" 

"Billy  the  Kid" 

(Directed  by   King   Victor) 

Marion  DAVIES 

Rosalie 

"The  March  of 

Time" 

Joan  CRAWFORD 

(With  'more  stars  than 

"Great  Day" 

there  are    in    heaven ') 

Lon  CHANEY 

"Jenny  Lind" 

with 

The  Bugle  Sounds" 

Grace  Moore 

John  GILBERT 

"The  World's  Illusion" 

Way  for  a  Sailor" 

The  Great  Meadow" 

Lawrence  TIBBETT 

The  New  Moon 

Naughty  Marietta 

William  HAINES 

Dance,  Fool,  Dance" 

"Remofe  Control" 

"War  Nurse" 

"Good  News" 

"The    Merry  Widow" 

"Trader  Horn" 

What  Music' 

and  many,  many  more 

outstanding  productions. 

William  DeMille 
Jacques   Feyder 
Sidney   Franklin 
Nick   Grinde 
George   Hill 
Sammy   Lee 
Robert  Z.    Leonard 
Edgar  J.  McGregor 
Fred    Niblo 
Harry   Pollard 
Charles    Riesner 
Arthur   Robinson 
Wesley   Ruggles 
Mai  St.   Clair 
Victor  Seastrom 
Edward  Sedgwick 
W.    S.    VanDyke 
King   Vidor 
Sam   Wood 


SONG  WRITERS 

Martin    Broones 
Dorothy  Fields 
Arthur  Freed 
Clifford  Grey 
Howard  Johnson 
Jimmy  McHugh 
Joseph  Meyers 
Reggie  Montgomery 
Herbert  Stothart 
Oscar   Straus 
George   Ward 
Horry   Woods 

WRITERS 

Stuart   Anthony 
Beatrice  Banyard 
Alfred  Block 


WYN-M 

There  are  in  Heaven  " 


Al  Boasberg 
A-  Paul  Mairker 

Branden 
Neil  Brandt 
Frank  Butlei 
John  Colton 
Mitiie  Cummings 
Ruth  Cummings 
Edith  Ellis 
Joseph  Farnham 
Edith  Fitzgerald 
Martin   Flavin 
Becky  Gardiner 
Willis  Goldbeck 
Robert  Hopkins 
Cyril  Hume 
William  Hurlburt 
John  B.  Hymer 
Marion  Jackson 
Laurence  E.  Jackson 
Earle  C.  Kenton 
Hans   Kraly 
John   Lawson 
Philip  J.  Leddy 
Charles  MacArthur 
Williard   Mack 
Frances  Marion 
Gene   Markey 
Sarah   Y.   Mason 
Edwin  J.  Mayer 
John   Meehan 
Bess  Meredyth 
James  Montgomery 
Jack   Neville 
Lucille  Newmark 
Fred  Niblo,  Jr. 
J.  C    Nugent 
George  O'Hara 
Samuel    Ornitz 
Arthur  Richman 
W.    L.    River 
Madeleine  Ruthven 
Don  Ryan 
Harry   Sauber 
Richard  E.  Schayer 
Zelda    Sears 
Samuel  Shipman 
Lawrence  Stallings 
Sylvia  Thalberg 
Wanda  Tuchock 
Jim  Tully 
Dale  Van  Every 
Claudine  West 
Crane  Wilbur 
P.  G.  Wodehouse 
Miguel  de  Zarraba 


The  New  Movie  Magazine 

One  of  the  Tower  Group  of  Magazines 
Hugh  Weir — Editorial  Director 

Vol.  II  Features  No.  2 

Cover  Painting  of  Leila  Hyams  by  Penrhyn  Stanlaws 
Back  to  Her  First  Hate Dick    Hyland    27 

Elsie  Ferguson  starts  all  over  again   in  Hollywood. 

Looking  Into  the  Stars'  Salary  Envelopes.  .  Tamar  Lane  and  Fred'k  James  Smith     28 

Why  star  salaries  are  dropping — and  the  exact  earnings  of  your  favorites. 

The  Thunder  Thief Adela  Rogers  St.  Johns    32 

She's  Marie  Dressier,  who'll  steal  a  picture  in   the  flash   of  an  eye. 

Won  by  a  Nose Rosalind  Shaffer    34 

The  retrousse  is   the  actress  nose  and  all  big  stars  possess  concave  nasal  profiles. 

Hollywood's  Successor  to  IT Dorothy  Herzog     38 

The  hemline  came  down  and  sounded  the  death  knell  of  the  flapper. 

The  Last  Days  of  Valentino , Herbert  Howe     40 

How  the  Italian  peasant  boy  died  a  king  with  a  broken  heart. 

Home  Town  Stories  of  the  Stars Perdita  Houston     44 

The  romance  of  Rudy   1'allee,  of   IVestbrook,  Maine. 

The  Unknown  Charlie  Chaplin Jim   Tully     50 

More  about  the  complex  and  many-sided  genius  of  laughter. 

The  Montana  Kid Dick  Hyland    66 

He's  Gary  Cooper  and  he's  a  young  man  of  contradictions. 

The  Drama  of  Lila  Lee Evelyn   Gray     86 

Act  II  in  the  absorbing  life  story  of  this  popular  actress. 

The  Poor  Little  Rich  Girl Antoinette  Spitzer    89 

Hope  Hampton   believes  that  wealth  is  a  detriment  to  success. 

We  Have  With  Us  Tonight Homer  Croy    90 

New    Movie   gives   another  big   Hollywood   banquet. 

Fiction 

A  Fool  and  His  Honey Stewart  Robertson    46 

The  funniest  motion  picture  short  story  of  the  year. 

Departments 

The  Hollywood  Boulevardier Herb  Howe    56 

Mr.  Howe  tells  you  the  real  inside  stories  of  moviedom. 

Reviews  of  the  New  Films Frederick  James  Smith     83 

Concise  -and  accurate  comments   upon   the   important   photoplays. 

First  Aids  to  Beauty Ann    Boyd     98 

Advice  and  rules  for  charm  and  attractiveness. 

AND:    Dollar   Thoughts,   6;    Where   to   Write   the  Movie   Stars,  8;    Gossip  of 
the  Studios,  13;   How  Hollywood  Entertains,  74;  Guide  to  the  Best  Films,  94. 

Frederick  James  Smith — 'Managing  Editor 
Dick    Hyland — Western    Editorial    Representative 


Published  monthly  by  Tower  Magazines,  Incorporated.  Office  of  publication  at  184-10  Jamaica  Ave.,  Jamaica,  N.  Y.  Executive 
and  editorial  offices:  55  Fifth  Avenue,  New  York,  N.  Y.  Home  office:  22  North  Franklin  Street,  Wilkes-Barre,  Pa.  Hugh  Weir, 
Editorial  Director;  Catherine  McNelis,  President;  Theodore  Alexander,  Treasurer;  Marie  L.  Featherstone,  Secretary.  Vol.  2,  Number  2, 
August,   1930,  printed  in   the   U.    S.   A.      Price   in  the  United   States    $1.20  a  year,   10c  a  copy.      Price  in  Canada  $1.80  a  year,   15c  a  copy. 

Copyright,  1930  (trademark  registered),  by  Tower  Magazines,  Incorporated,  in  the  United  States  and  Canada.  Entered  at  the 
Post    Office   at   Jamaica,    N.    Y.,    as    second-class    matter    under    the    Act  of  March  3,   1879.     Nothing  that  appears  in  THE  NEW  MOVIE 

MAGAZINE  may  be  reprinted,  either  wholly  or  in  part,  without  permission.  The  publisher  accepts  no  responsibility  for  return  of 
unsolicited  manuscripts. 

Applicant  for  Membership  in  the  Audit  Bureau  of  Circulations 


The  New  Movie  Magazine 


Buy  a  bathing  suit  with 

what  you  save  f 


So  many  things  you  can 
buy  with  that  $3  you  save 
by  using  Listerine  Tooth 
Paste  instead  of  50  cent 
entifrices.  Cold  Cream, 
for  example.  Talcum, 
andkerchiefs.    Hose. 


"We  all  agreed 

that  our  teeth  had  improved  —  and  found  we 
all  used  the  same  tooth  paste" 


So  writes  a  St.  Louis  woman  devoted  to  Listerine  Tooth 
Paste  because  of  its  very  definite — and  apparent — re- 
sults, and  its  welcome  economy. 

It  is  really  amazing  how  wonderfully  well  Listerine 
Tooth  Paste  cleans  teeth. 

If  your  teeth  are  closely  set,  off  color,  have  blemishes, 
and  are  particularly  hard  to  whiten,  try  a  tube  of  this 
quality  dentifrice  for  a  week  or  more. 


You  will  be  delighted  to  find  how  swiftly  but  how 
gently  it  erases  discoloration  and  tartar,  leaving  the 
teeth  snowy  white  and  lustrous.  You  will  like  the  re- 
freshing feeling  it  imparts  to  the  mouth  and  gums. 

And  you  will  welcome  that  saving  of  $3  it  accom- 
plishes. In  every  way,  you  will  find  it  the  equal  of 
dentifrices  costing  twice  as  much  or  more.  Lambert 
Pharmacal  Company,  St.  Louis,  Mo.,  U.  S.  A. 


Listerine  Tooth  Paste 

10c  size  on  sale  at  all  Woolworth  stores 


DOLLAR 
THOUGHTS 

The   New   Movie   Magazine   Readers 

Express  Their  Opinions  of  Film  Plays 

and   Players — and  This  Monthly 


Illiteracy  Myth 
Exploded 

San  Francisco,  Calif. 

The  new  movies,  talk- 
ing pictures,  have  dis- 
abused the  public  mind 
on  one  of  the  most  im- 
portant subjects  of 
pre-talkie  days  .  .  .  the 
illiteracy  of  "the 
stars".  Gossip  had  it 
that  many  popular 
stars  of  silent  films 
lacked  the  simplest 
rudiments  of  primary 
education. 

When  talkies  swept 
the  world  like  a  tidal 
wave,  the  public  sought 
theaters  with  skeptical 
tolerance  expecting  the 
talking  stars  to  make  idiots  of  themselves  .  .  .  and, 
instead,  it  awakened  to  the  fact  that  not  only  the  stars 
but  the  lowest  paid,  most  unimportant  movie  maids 
or  heroes  were  capable  of  speaking  better  English  than 
the  average  person  in  the  street. 

The  myth  of  Hollywood's  illiteracy  is  exploded — peo- 
ple now  believe  that  the  stars  sign  their  contracts  with 
a  signature  instead  of  an  "X". 

Gilson  WilJets, 
890  Geary  Street. 

For  Entire  Family 

Cincinnati,  Ohio — 

I  have  nothing  but  the  highest  praise  for  New  Movie. 
We  used  to  have  to  watch  what  our  sons  and  daughters 
read,  especially  the  movie  magazines,  most  of  which 
were  filled  with  trash.  But  now  we  have  a  respectable 
magazine  in  New  Movie,  and  I  am  glad  to  see  it  around 
the  house.  I  picked  up  a  copy  of  last  month's  issue 
and  thumbed  through  it  to  see  what  my  children  were 
reading.  I  became  interested  and  read  it  through.  I 
am  highly  in  favor  of  it,  and  recommend  it  as  whole- 
some reading  for  everyone. 

•  J.  W.  McKeown, 
355  Baum  Blvd. 

Well,   Maybe 

New  York,  N.  Y.— 

When  one  reads  fifteen  letters  and  ten  of  them  are 
in  praise  of  New  Movie  instead  of  about  plays  and  play- 
ers as  the  heading  infers — one  becomes  just  a  bit 
disgusted. 

Why  not  eliminate  some  of  or  all  of  the  personal 
horn-blowing — for,  if  you  don't,  people  will  think 
they're  entitled  to  a  dollar  for  saying  something 
flattering. 

Isn't  this  thought  worth  a  dollar? 

/.  Lindsey  Miller, 
30  5th  Ave.,  Apt.  9  A. 

Doesn't  Like  Vallee 

Palmyra,  Miss. — 

Thumbs  down  for  Rudy  Vallee.  His  picture  was 
handed  to  him  on  a  silver  platter  and  yet  Marie  Dressier 
got  all  the  histrionic  honors. 

He  sings  0.  K.,  his  band  is  very  good,  but  his  acting 
is  as  if  he  were  petrified. 

I  only  wish  my  Vagabond  Dreams  would  come  true 

and  there  wouldn't  be  any  Vallee. 

^  ,,      .        _,  .  Steivart   Johnson. 

Collecting    Voices 

West  New   York,  N.  J. — 

With  the  coming  of  talkies  I 
predict  a  strong  come-back  of  the 
phonograph  and  Victrola  record. 
We  who  collect  photographs  of  our 
favorite  stars  will  add  to  this 
hobby — collecting  records  of  our 
screen  idols'  voices. 


THE  NEW  MOVIE  MAGAZINE  pays  one 
dollar  for  every  interesting  and  con- 
structive letter  published.  Address  your 
communications  to  A-Dollar-for-Your- 
Thoughts,THE  NEW  MOVIE  MAGAZINE, 
55  Fifth  Avenue,  New  York  City. 


Won't  someone  please 
tell  Clive  Brook,  Wil- 
liam Powell,  Gary 
Cooper,  Mary  Pickford, 
Ann  Harding,  etc.,  to 
sail,  motor,  or  fly  to  the 
nearest  phonograph  re- 
cording station  and 
speak,  sing  or  whistle 
for  us — their  adoring 
public? 

Lillian  E.  Miller, 
1377  Boulevard  East, 
Apt.  2  F— South. 

Cheers  for  Tibbett 

Fort  Lauderdale, 

Florida — 
I've  been  reading 
your  Dollar  Thoughts 
and  I  find  them  very 
interesting.  I  want  to  add  this  bit  about  Lawrence 
Tibbett.  He  is  not  good-looking  but  he  has  a  charming 
personality  and  his  voice  is  excellent — so  full  of  feeling. 
If  people  don't  like  him,  why  do  they  go  to  see  him? 
Most  people  get  sick  of  seeing  the  same  type  of  jazzy 
pictures  all  the  time,  they  want  something  different, 
and  it  is  a  real  treat  to  have  a  change.  So  I  say,  three 
cheers  for  Larry! 

Ridge  Rountree, 
201  Southeast  Sixth  Avenue. 

Another   Movie   Error 

Chicago,  III. — 

Since  when  does  the  bride,  on  the  arm  of  the  man 
who  is  to  "give  her  away,"  precede  her  bridesmaids 
as  she  walks  up  to  the  altar  to  meet  her  intended  hus- 
band? The  heroine  does  this  in  "The  New  Adventures 
of  Dr.  Fu  Manchu."  The  producers  are  usually  so 
careful  in  this  respect  but  they  slipped  up  in  this 
instance. 

M.  H.  Bond, 
7406   Phillips   Avenue. 

Vive,  Chevalier 

New   York,   N.    Y. — 

Pearl  O'Moore  writes  to  New  Movie  that  she  can't 
see  anything  nice  in  Maurice  Chevalier.  Personally,  I 
think  he  is  just  about  perfect,  but  I  don't  try  to  bring 
everyone  to  my  point  of  view.  I  can't  bear  Rudy 
Vallee  or  Buddy  Rogers,  but  I  realize  that  some  people 
like  these  actors  and  Miss  O'Moore  should  realize  that 
a  good  many  people  like  Chevalier. 

Pearl  A.  Katzman, 
601  West  189th  Street. 

Thrilled  by  Garbo  Voice 

Los  Angeles,  Calif. — 

I  have  seen  and  heard  Garbo  in  her  first  talking  pic- 
ture. What  a  joy  and  revelation  to  hear  this 
glamorous  girl  speak  so  well.  I  sat  spellbound  through 
two  entire  performances,  charmed  and  thrilled  with  her 
deep,  compelling  voice  and  the  exquisite  artistry  with 
which  she  portrayed  "Anna  Christie." 

Helene  Graefner, 
1656  W.  47th  St.,  Apt.  2. 

Loses   His   Illusions 

Binghamton,  N.  Y. — 

So  you  like  Greta  Garbo's  voice  as  disclosed  in  "Anna 
Christie."  Well,  well!  To  me  it 
sounded  just  like  the  delivery  of 
the  winter's  coal.  All  my  illu- 
sions were  smashed  by  that  hoarse 
voice.  Why  were  the  talkies  in- 
vented, anyway? 

Jack  Harris, 
Chenango  Street. 
{Continued  on  page  104) 


The    New   Movie    Magazine 


Vvhat  makes  a  girl  ALLURING? 

V^-LAJ\A  JjO  VV ,  the  girl  whose  Heautj  ana  Personality  have  made  her 
VV orla~ll amous,  explains  how  any  girl  can  he  (captivating 


THERE'S  one  thing  that  stands  out 
above  all  others  in  making  a  girl 
really  alluring,"  says  Clara  Bow,  the  scin- 
tillating little  Paramount  star  whose  vivid 
beauty  and  personality  have  won  her 
world-fame  in  motion  pictures.  "It1  s  lovely 
skin.  You  may  have  marvelously  appealing 
eyes — and  a  lot  of  charm- — and  a  beautiful 
figure.  But  just  notice  the  way  people 
cluster  around  a  girl  who  has  lovely  skin! 
"I  got  my  first  chance  in  the  movies 
partly,  at  least,  because  of  what  my 
father  calls  my  '  baby-smooth '  skin.  You 
see,  motion  picture 
directors  found  out 
long  ago  that  unless 
a  girl  has  marvelous 
skin  she  can  never 
make  millions  of 
hearts  beat  faster 
when  she  appears  in 
a  close-up. 

"Several  years  ago, 
some  of  us  began 
using  Lux  Toilet 
Soap,  and  were  en- 
It  wasn't  long  before 


Nancy  Carroll  hay 
lovely  skin. 

thusiastic  about  it. 


almost  every  important  actress  in  Holly- 
wood was  using  it." 

9  out  of  10 
Screen  Stars  use  it 

"Take  Nancy  Carroll,  for  instance,"  Clara 
Bow  continues.  "She  keeps  her  fair  skin 
delectable  as  an  apple  blossom  with  Lux 
Toilet  Soap.  And  Mary  Brian.  Jean 
Arthur,  too,  keeps  her  skin  lovely  with 
Lux  Toilet  Soap. 

"In  fact,  nearly  every  girl  I  know  in 
Hollywood  uses  this  soap.  And  aren't 
we  glad  we  have  kept  our  skin  in  good 
condition — the  talkies  have  even  more 
close-ups  than  silent  pictures. 

"  When  I  get  letters  from  girls  all  over 
the  country — saying 
nice  things  about  my 
skin  —  I  long  to 
answer  every  one  of 
them,  and  tell  these 
girls  that  they  can 
keep  their  skin  just 


Jean  Arthur  always 
uses  Lux  Toilet  Soap. 


Photo  by  O.  Dyar,  Hollywood  ' 

Clara  Bow  says:  "People  cluster  around  the  girl  with  lovely  skin!  .  .  .  Lux  Toilet  Soap 


is  such  a  help  in  keeping  the  skin  in  perfect  condition. 


"'  c/. 


as  smooth   as  we  screen  stars  do  —  by 
using  Lux  Toilet  Soap." 

There  are  now  521  important  actresses 
in  Hollywood,  including  all  stars.    Of 
these,  511  use  Lux  Toilet  Soap.    More- 
over, all  the  great  film  studios  have  made 
it  the  official  soap  for 
their  dressing  rooms. 
So  essential  is  it  that 
every  girl  in  motion 
pictures,  from    the 
world-famous    star 
down  to  the  newest 


0/1*0^ 


"extra,"  shall  have  the  very  loveliest  skin ! 

Lux  Toilet  Soap,  as  you  know,  is  made 
by  just  the  same  method  as  the  finest 
toilet  soaps  of  France. 

If  you  aren't  one  of  the  millions  of  girls 
and  women  who  are  already  devoted  to 
this  daintily  fragrant  white  soap,  do  try 
it — today.  It  will  keep  your  skin  as 
charmingly  fresh  and  smooth  as  it  keeps 
the  beautiful  screen  stars'! 

Use  Lux  Toilet  Soap  for  the  bath,  too 
—  and  for  the  shampoo.  It  lathers  ever 
so  generously,  even  in  the  hardest  water! 


Mary   Brian's  skin 

shows  flawless    in   a 

close-up. 


Lux   Toilet   Soap 


First  Sweeping  Hollywood — then  Broadway 


—  and 


the  En 


Capitals 


104 


WHERE  t0  WRITE  the  MOVIE  STARS 

When  you  want  to  write  the  stars  or  players,  address  your  com- 
munications to  the  studios  as  indicated.      If  you  are  writing  for  a 
photograph,  be  sure  to  enclose  twenty-five  cents  in  stamps  or  silver. 
If  you  send  silver,  wrap  the  coin  carefully. 


At  Metro-Goldwyn 
Calif. 

Renee  Adoree 
George  K.  Arthur 
Nils  Asther 
Lionel  Barrymore 
Lionel  Belmore 
Wallace  Beery 
Charles  Bickford 
John  Mack  Brown 
Lon  Chaney 
Joan  Crawford 
Karl  Dane 
Marion  Davies 
Duncan  Sisters 
Marie  Dressier 
Josephine  Dunn 
Greta  Garbo 
John  Gilbert 
Gavin  Gordon 
Raymond  Hackett 
William  Haines 
Leila  Hyams 


■Mayer  Studios,  Culver  City, 

Dorothy  Janis 
Dorothy  Jordan 
Kay  Johnson 
Buster  Keaton 
Charles  King 
Gwen  Lee 
Barbara  Leonard 
Bessie  Love 
Robert  Montgomery 
Polly  Moran 
Conrad  Nagel 
Ramon  Novarro 
Edward  Nugent 
Catherine  Dale  Owen 
Anita  Page 
Lucille  Powers 
Aileen  Pringle 
Dorothy  Sebastian 
Norma  Shearer 
Lewis  Stone 
Ernest  Torrence 
Raquel  Torres 


At  Paramount-Famous-Lasky  Studios, 
Hollywood,  Calif. 


Richard  Arlen 
Jean  Arthur 
William  Austin 
George  Bancroft 
Clara  Bow 
Mary  Brian 
Clive  Brook 
Virginia  Bruce 
Jack  Buchanan 
Nancy  Carroll 
Lane   Chandler 
Ruth  Chatterton 
Maurice  Chevalier 
June  Collyer 
Chester  Conklin 
Jackie  Coogan 
Claudette  Colbert 
Gary  Cooper 
Marlene  Dietrich 
Kay  Francis 
Harry  Green 
Mitzi  Green 
James  Hall 


Neil  Hamilton 
O.  P.  Heggie 
Doris  Hill 
Phillips  Holmes 
Jack  Luden 
Paul  Lukas 
Jeanette  MacDonald 
Fredric  March 
Rosita  Moreno 
David  Newell 
Barry  Norton 
Jack  Oakie 
Warner  Oland 
Guy  Oliver 
Zelma  O'Neal 
Eugene  Pallette 
Joan  Peers 
William  Powell 
Charles  Rogers 
Lillian  Roth 
Regis  Toomey 
Florence  Vidor 
Fay  Wray 


Universal  Studios,  Universal  City,  Calif. 


Lewis  Ayres 
John  Boles 
Ethlyn  Claire 
Kathryn  Crawford 
Reginald  Denny 
Jack  Dougherty 
Lorayne  DuVal 
Hoot  Gibson 
Dorothy  Gulliver 
Otis  Harlan 
Raymond  Keane 
Merna  Kennedy 
Barbara  Kent 

Samuel  Goldwyn,  7210  Santa  Monica  Blvd., 
Hollywood,  Calif. 

Vilma  Banky  Ronald  Colman 

Walter  Byron  Lily  Damita 

8 


Beth  Laemmle 
Arthur  Lake 
Laura  La  Plante 
George  Lewis 
Jeanette  Loff 
Ken  Maynard 
Mary  Nolan 
Mary  Philbin 
Eddie  Phillips 
Joseph  Schildkraut 
Glenn  Tryon 
Barbara  Worth 


At  Fox  Studios,  1401 
Hollywood,  Calif. 

Frank  Alberston 
Luana  Alcaniz 
Mary  Astor 
Ben  Bard 
Warner  Baxter 
Marjorie  Beebe 
Rex  Bell 

Humphrey  Bogart 
El  Brendel 
Dorothy  Burgess 
Sue  Carol 
Sammy  Cohen 
Marguerite  Churchill 
Joyce  Compton 
Fifi  Dorsay 
Louise   Dresser 
Charles  Eaton 
Charles  Farrell 
Earle  Foxe 
John  Garrick 

At  Warner  Brothers 
Hollywood,  Calif. 

Armida 

John  Barrymore 
Betty  Bronson 
Joe  Brown 
William  Collier,  Jr. 
Dolores  Costello 
Claudia  Dell 
Louise  Fazenda 
Lila  Lee 

Pathe  Studios,  Culver  City,  Calif. 
Robert  Armstrong  Ann  Harding 

Constance  Bennett  Eddie  Quillan 

William  Boyd  Fred  Scott 

James  Gleason  Helen  Twelvetree3. 

First  National  Studios,  Burbank,  Calif. 


No.  Western  Avenue, 

Janet  Gaynor 
Ivan  Linow 
Edmund  Lowe 
Claire  Luce 
Sharon  Lynn 
Kenneth  MacKenna 
Farrell  MacDonald 
Mona  Maris 
Victor  McLaglen 
Lois  Moran 
Charles  Morton 
Paul  Muni 
George  O'Brien 
Maureen  O'Sullivan 
Paul  Page 
David  Rollins 
Milton  Sills 
Arthur  Stone 
Nick  Stuart 
John  Wayne 
Marjorie  White 

Studios,  5842  Sunset  Blvd., 

Winnie  Lightner 
Lotti  Loder 
Myrna  Loy 
Ben  Lyon 
May  McAvoy 
Edna  Murphy 
Marian  Nixon 
Lois  Wilson 
Grant  Withers 


Richard  Barthelmess 
Bernice  Claire 
Doris  Dawson 
Billie  Dove 

Douglas  Fairbanks,  Jr. 
Alexander  Gray 
Corinne  Griffith 
Lloyd  Hughes 


Doris  Kenyon 
Dorothy  Mackaill 
Colleen  Moore 
Jack  Mulhall 
Vivienne  Segal 
Thelma  Todd 
Alice  White 
Loretta  Young 


United  Artists  Studios,  1041  No.  Formosa 
Avenue,  Hollywood,  Calif. 

Don  Alvarado  Mary  Pickford 

Fannie  Brice  Gloria  Swanson 

Dolores  del  Rio  Norma  Talmadge 

Douglas  Fairbanks  Constance  Talmadge 

Al  Jolson  Lupe  Velez 

Columbia   Studios,   1438  Gower   Street, 
Hollywood,    Calif. 


Evelyn  Brent 
William  Collier,  Jr. 
Ralph  Graves 
Jack  Holt 


Margaret  Livingston 
Jacqueline  Logan 
Shirley  Mason . 
Dorothy  Revier 

RKO    Studios,    780    Gower    Street,    Hollywood, 
Calif. 

Frankie  Darro 
Richard  Dix 
Bob  Steele 
Tom  Tyler 


Buzz  Barton 
Sally  Blane 
Olive  Borden 
Betty  Compson 
Bebe  Daniels 


The  New  Movie   Magazine 


m  Jfbivyoucart 


fjOlWGTOTHEMOVffC 


The  New  Movie  Magazine 


Tell  youi7\+hedti*e  M&n&dei*  you  want  to  see 


ARNERBROS 


FIRST  NATIONAL 


,w 


ITAPHONE 


RIGHT  now  your  theatre  manager  is  selecting  his  attractions 
for  the  coming  year.   He's  trying   to   choose  the  ones 
YOU'LL  like  best. 

You  can  help  him  decide  by  telling  him  YOUR  choice!  He'll  be 
GLAD  to  know  your  preference  so  that  he  can  more  closely 
accommodate  your  tastes. 

To  help  you  in  your  selection,  WARNER  BROS,  and  FIRST 
NATIONAL,  exclusive  Vitaphone  producers,  announce  here  in 
advance  their  amazing  production  programs  for  1930-31. 

Look  over  these  lists  . . .  Notice  the  wealth  of  famous  stars  . . . 
the  brilliant  stories  by  favorite  authors  .  . .  the  wonderful  enter- 
tainment values  these  titles  promise. 

Compare  them  with  any  other  group  of  pictures  announced 
for  the  coming  year  . .  .Then  use  the  ballot  on  the  second  page 
following  to  indicate  your  choice. 


{Titles  and  casts  an 
subject  to  change  in  a 
few  instances.) 


10 


The  New  Movie  Magazine 


WARNER  BROS.  PICTURES  for  1930-1931 


JOHN  BARRYMORE 
in  "MOBY  DICK" 

From  the  famous  novel  by  Herman  Melville. 
With  Joan  Bennett. 

• 

JOHN  BARRYMORE 

In  a  second  spectacular  production. 

• 

"VIENNESE  NIGHTS" 

All  in  Technicolor 

Their  first  original  romance. 

By  Sigmund  Romberg  and  Oscar 

Hammerstein  2nd. 

• 

"CAPTAIN  APPLEJACK" 

From  the  long-run  stage  hit.    With  John 
Halliday,  Mary  Brian  and  other  stars. 

• 

"MAYBE  IT'S  LOVE" 
With  the  All -American  Football  Team 

And  Joe  E.  Brown,  Joan  Bennett. 


GEORGE  ARLISS 
in  "OLD  ENGLISH" 

From  the  celebrated   play  by  John 
Galsworthy.  With  a  star  cast. 

• 

"FIFTY  MILLION  FRENCHMEN" 

The  greatest   musical  comedy  in  years  in 
New  York,  filmed  entirely  in  Technicolor. 

• 

"THE  OFFICE  WIFE" 

By  Faith  Baldwin. 

• 

"THE  LIFE  OF  THE  PARTY" 

All  in  Technicolor 

With  Winnie  Lightner,  Irene  Delroy 
and  others. 

"THE  DANUBE  LOVE  SONG" 

All  in  Technicolor 

A  lavish  romance  by  famous  Oscar  Strauss. 


AL  JOLSON  in  "BIG  BOY" 

All  Laughs? 

• 

"SIT  TIGHT" 

With  Winnie  Lightner,  Joe  E.  Brown, 
Irene  Delroy. 

• 

"RED  HOT  SINNERS" 

With  Winnie  Lightner. 

• 

"NANCY  FROM  NAPLES" 

Irene   Delroy,  Charles  King  and  10  other 
stars  in  a  comedy  by  celebrated  Elmer  Rice. 

• 

"CHILDREN  OF  DREAMS" 

Magnificent  romance  by  Oscar 
Hammerstein  2nd  and  Sigmund  Romberg. 

• 

AND  MANY  OTHERS 

• 

Also"VITAPHONE  VARIETIES" 

The  finest  of  all  "Short  Subjects." 


FIRST  NATIONAL  PICTURES 
for  1930-1931 


STARS  M 

PICTURES 


1 


RICHARD  BARTHELMESS 
in  "THE  DAWN  PATROL" 

A  vast  production  and  a  perfect 
Barthelmess  story. 

• 

RICHARD  BARTHELMESS 
in  "ADIOS" 

The  brilliant  star  in  the  kind  of  part  that 
made  him  famous. 

"THE  GIRL 
OF  THE  GOLDEN  WEST" 

One  of  the  greatest  stage  plays  of  all  time, 

to   be   filmed    with    Ann    Harding,   James 

Rennie  and  7  other  stars. 

• 

OTIS  SKINNER  in  "KISMET" 

With  Loretta  Young 

One  of  the  stage's  greatest  stars   in   his 

most  famous  hit. 

"THE  TOAST  OF  THE  LEGION" 

All  in  Technicolor 

From  the  glorious  Victor   Herbert  hit, 
"Mile.  Modiste,"  with  a  tremendous  cast. 

• 

"MOTHER'S  CRY" 

From  the  famous  best-selling  novel. 

• 

"TOP  SPEED" 

Joe  E.  Brown  and  Jack  Whiting  in  a  great 
Broadway  success. 

"THE  BAD  MAN" 

Walter    Huston    and    5    other   stars    in   a 
celebrated  stage  comedy. 


MARILYN  MILLER 
in  "SUNNY" 

By  Otto  Harbach  and  Oscar 
Hammerstein  2nd.   Music  by  Jerome  Kern. 

• 

"WOMAN  HUNGRY" 

All  in  Technicolor 

With  Lila  Lee,  Sidney  Blackmer,  Fred  Kohler 
and  5  other  stars. 

• 

"BRIGHT  LIGHTS" 

All  in  Technicolor 

With   Dorothy  Mackaill,   Frank  Fay  and  8 
more  stars. 

• 

"RIGHT  OF  WAY" 

From    the    famous    novel    by   Sir    Gilbert 

Parker,  with  Conrad  Nagel,  Loretta  Young 

and  others. 

• 

"THE  CALL  OF  THE  EAST" 

First   original    screen    production    by   the 

brilliant  composer  and  author,  Jerome  Kern 

and  Otto  Harbach. 

• 

"CAPTAIN  BLOOD" 

Glorious    sea    adventure   from    the   thrill- 
packed  pages  of  Rafael  Sabatini. 

• 

"THE  HONOR  OF  THE 
FAMILY" 

With  Walter  Huston. 

AND  MANY  OTHERS 


1930-1931 


The  New  Movie  Magazine 


Cast  your 


Vitaphone  is  the  registered 
trade-mark  of  The  Vita- 
phone  Corporation.  Color 
Scenes  by  the  Technicolor 
process. 


WARNER  BROS.  PICTURES,  INC.  T 

321  West  44th  St.,  N.  Y.  C. 

I  should  like  to  see  all  of  the  Vitaphone  pictures  which  Warner 
Bros,  and  First  National  plan  to  produce  this  coming  year. 
Please  send  me  a  photograph  of 

(Insert  Dame  of  any  star  mentioned  in  this  announcement.) 

(Signed) 

(Address) - 

(Gfy  &  Staie) 


WARNER  BROS. 


FIRST  NATIONAL 


andVITAPHONE 


STARS  cmdPICTU  RES 


\ 


01 


l!  Ill 

MM 

*    I      I     I 


YOU  have  just  read  on  the  preceding   page  the 
most  ambitious  array  of  super-productions  any 
company  has  ever  dared  to  plan! 

Entertainment  values  that  would  ordinarily  be  spread 
over  two  years  or  more,  will  be  concentrated  by  these 
two  famous  producers  in  a  single  season! 

Many  of  them  will  be  radiant  with  the  resplendent 
tints  of  Technicolor... and  ALL  will  have  the  perfect 
tone  of  Vitaphone. 

If  you  enjoyed  "Disraeli'V'Gold  Diggers  of  Broadway", 
and  the  scores  of  other  great  Vitaphone  successes 
released  last  year,  you  will  want  to  be  sure  to  see  the 
stars  and  new  productions  of  the  companies  that  have 
proved  theirpreeminence  by  turning  out  hits  like  these. 

To  help  bring  these  exciting  shows  to  your 
theatre,  use  the  ballot  below  NOW!  Sign 
it  and  mail  it  today  to  Warner  Brothers 
Pictures,  Inc. 

Your  choice  will  be  brought  to  the  attention  of  your 
theatre  manager,  and  you  will  receive  —  FREE — a 
beautiful  photograph  of  your  favorite  star. 
Also  write  or  'phone  your  theatre  manager  direct 
to  let  him  know  that  you  wish  to  see  these 
famous  stars  and  important  productions. 


12 


The  New  Movie  Magazine 


Gossip  of  the  Studios 


T 


ALKIES  have  increased  the  earnings  of  the 
motion  picture  industry  $500,000,000  a  YEAR! 
They  have  doubled  the  attendance. 


J-JAROLD  LLOYD  had 

to  postpone  his 
scheduled  trip  to  Hono- 
lulu, where  a  number  of 
scenes  in  his  next  picture, 
"Feet  First"  are  to  be 
shot.  The  reason :  an  un- 
certain and  troublesome 
appendix.  And  to  add  to 
his  tough  luck  for  the 
month,  a  $2,500  Great 
Dane  prize  dog  died  from 
poisoning. 


seeing  as  how  they  are  getting  one  million  dollars  for 
thirty  days'  work. 


Charles  Farrell:    Wins   news- 
paper   popularity   contest   in 
New  York  and  Chicago,  de- 
feating Buddy  and  Gary. 


A/[ORE    trouble    about 
11  Rudie   Valentino's 


estate.  His  brother,  who 
had  his  face  made  over  to 
look  something  like  Rudie's  and  tried  unsuccessfully 
to  break  into  pictures,  made  a  tiock  of  charges  against 
George  Ullman,  Rudie's  friend  and  business  manager, 
who  is  the  executor  of  the  estate.  Ullman  showed  in 
court  that,  far  from  mishandling  the  estate,  he  had 
built  it  up  from  being  a  half-million  in  debt  to  where 
over  $300,000  was  in  the  clear.  That  was  done  by  the 
judicious  exploitation  of  Rudie's  pictures  after  his 
death.  No  other  screen  star's 
pictures  have  made  money 
after  his  death. 


Hollywood  has  160,000  pop- 
ulation. In  the  last  ten  years 
75  corner  lots  between  Western 
and  Highland  on,  Hollywood 
Boulevard  show  an  average  in- 
crease of  $116,408  each  in  valu- 
ation. 


gILL  HART  is  all  right  again 
after  having  had  his  tonsils 
removed.  Lon  Chaney  was  in 
the  hospital  at  the  same  time, 
having  a  small  operation  on  his 
throat. 


"pHECK  AND  DOUBLE 
^  CHECK"  is  the  name  of 
the  picture  Amos  'n'  .  Andy 
will  make  in  Hollywood.  And 
a    right    good    name,    say    we, 


POSMO  HAMILTON, 
^  author  of  "The  Blind- 
ness of  Virtue,"  has 
come  to  Hollywood  to 
see  what  can  be  done 
about  making  better  pic- 
tures. His  first  blast  on 
arriving  was  to  say  that 
present  marriage  laws  are 
the  bunk !  "Marriage 
should  be  made  so  diffi- 
cult that  nobody  would 
want  it,"  he  said.  On  the 
same  thought  he  advo- 
cated making  divorces  so 
easy  anyone  could  get 
one  at  any  time  for  any 
reason  whatsoever.  He 
has  been  married  once — 
and  divorced. 


noted    British    writer    and 


William    Powell:    He    slipped 

away  quietly  for  a  vacation 

touring  Europe  with   his   pal, 

Ronald  Colman. 


Signor  Benito  Mussolini  ran  Al  Jolson's  "The  Sing- 
ing Fool"  in  his  private  talkie  theater  in  Rome. 


'"THOUSANDS  of  letters .  coming  to  Marion  Davies 
regarding  her  picture,  "The  Florodora  Girl,"  seem 

to  indicate  that  the  world  is  of  different  opinions  on 
the  long  skirts.  But  they  all 
say  they  would  not  want  to  go 
back  to  the  days  of  bustles  and 
hoops. 


yiVIENNE  SEGAL,  New 
York  stage  star  and  now  a 
Warner  Brothers  star  has  a 
pet  punch  she  serves.  One 
quart  of  grape  juice,  one  pint 
of  orange  juice,  one-half  cup 
of  sugar,  four  bottles  of 
ginger  ale  and  one-third  cup 
of  lemon  juice.  This  makes 
three  quarts  of  a  rather  tasty 
beverage. 


On  his  w ay  back  from 
Europe,  Doug  Fairbanks  flew 
from  New  York  to  Hollywood. 


fllE   DAILY   NEWS    (a 

New  York  tabloid),  held  a 

contest    to     decide     the     most 

13 


The  Who's  Who  of  Hollywood— what  the 


popular  screen  players. 
Charlie  Farrell  led 
Buddy  Rogers  by  over 
ten  thousand  votes.  Janet 
Gaynor  won  the  girl's  end 
of  the  contest  and  beat 
Greta  Garbo  by  a  big 
margin. 

The  Chicago  Tribune 
held  a  contest  and  while 
the  vote  was  not  as  heavy, 
Gaynor  again  beat  Garbo 
and  Farrell  beat  Gary 
Cooper. 


Mary  Pickford:  She  stops  work 

abruptly  on  her  new  picture  \  PARTY  of  Holly- 
and  sets  Hollywood  talking.  -tl  W00(j  people,  includ- 
ing Alexander  Gray, 
Warner  Brothers  player,  recently  decided  to  live  fifty 
years  ago.  So  they  dolled  up  in  old  time  costumes  and 
took  a  four-day  horseback  trip  into  the  mountains — 
using  nothing  in  the  line  of  equipment  except  things 
which  could  have  been  used  fifty  years  ago.  That's  an 
idea  for  some  fun,  at  that. 


Gary  Cooper  was  born  on  May  seventh. 


]  AWRENCE  TIBBETT  is  back  in  Hollywood  after 
■L/  a  concert  tour.  His  next  picture  will  be  "New 
Moon"  with  Grace  Moore,  another  opera  singer,  as  his 
co-star. 


A  BANDIT  held  up  the  Santa  Fe's  crack  train.  The 
■**■  Chief,  just  as  it  was  pulling  out  of  Los  Angeles  for 
Chicago.  He  took  a  $6,500  engagement  ring  and  a 
$1,000  diamond  encrusted  dinner  ring  from  Marian 
Nixon.  He  gave  her  back  her  wedding  ring,  which  he 
had  taken,  when  she  began  to  cry.  He  took  $400  in  cash 
from  Marian's  husband,  Edward  Hillman.  He  knocked 
on  the  door  of  Mrs.  Al  Jolson's  compartment  but  she 
had  locked  herself  in  and  refused  to  unlock.  She  had 
caught  a  glimpse  of  the  bandit  and  had  dodged  into  her 
compartment.  The  bandit  overlooked  a  $5,000  necklace 
around  Miss  Nixon's  neck. 


T*HREE  thousand  feet 
over  Hollywood  an  air- 
plane sailed  through  the 
clouds.  In  it  were  thir- 
teen people.  They  held  a 
telephone  and  radio  con- 
versation with  Premier 
Mussolini,  who  was  in 
Rome,  for  seven  minutes. 
They  talked  to  Ambas- 
sador Charles  Dawes  in 
London  for  five  minutes. 
They  gabbed  with  Di- 
rector Milch  in  Berlin  for 
fourteen  minutes.  And 
then  called  up  Mexico 
City,  Ottawa,  Canada  and 
New  York.  That's  an  air 
chatter  record. 

14 


Here  is  one  Lilyan  Tashman,  who  is  regarded  by 
many  as  the  best  dressed  woman  in  pictures,  is  telling 
on  herself.  During  a  recent  visit  to  New  York  she  and 
her  husband,  Edmund  Lowe,  were  guests  at  a  dinner 
party  at  the  fashionable  Central  Park  Casino.  Miss 
Tashman  had  a  gorgeous  new  white  gown  for  the  occa- 
sion and  couldn't  understand  why  she  felt  so  uncom- 
fortable all  evening.  It  wasn't  until  after  the  second 
dance  that  she  found  she  had  the  dress  on  hind  side 
before. 


"DUTH  CHATTERTON  was  forced  to  stay  in  bed 
for  a  week  with  a  very  bad  cold  which  threatened 
to  develop  into  pneumonia.  She  is  okay  again  now. 
Ralph  Forbes,  her  husband,  and  Ruth  have  rented 
Anna  Q.  Nilsson's  house  at  Malibu  Beach  for  the 
summer. 


ALMA  RUBENS  and  her  husband,  Ricardo  Cortez, 
■£*■  have  come  to  the  parting  of  the  ways.  Alma  is 
suing  for  a  separation,  not  a  divorce. 


T  OE  SCHENCK  offered  George  M.  Cohan  $1,000,000 
*^  to  come  to  Hollywood  and  make  talking  pictures. 
Cohan  accepted  and  started.  He  stopped  off  in  Chicago 
to  play  in  his  drama,  "Gambling,"  and  it  went  so  well 
he  decided  the  stage  was  more  fun  AND  TORE  UP 
THE  MILLION-BUCK  CONTRACT. 


Ten  years  ago  Beverly  Hills  had  a  population  of  674. 
Today  it  has  17,428.  An  increase  of  2465.7  per  cent. 
Motion  picture  stars  moving  into  Beverly  attracted  a 
lot  of  people! 


A/f  ARSHALL  NEIL  AN  and  Blanche  Sweet,  recently 
***■  divorced,  were  seen  lunching  at  the  Embassy  Club 
the  other  day.  Blanche  looked  exceptionally  pretty  in  a 
frock  of  green  linen  and  a  big  floppy  green  hat. 


T 


ANIA  FEDOR,  a  French  belle  who  does  not  speak 
a  word  of  English,  landed  on  the  Metro-Goldwyn- 
Mayer  lot  and  had  the  boys  running  around  in  circles 
looking  for  dictionaries.  She  is  um-yum  pretty  and 
going  to   make  French   versions   until   she   learns  to 

parlay  Onglaze. 


Latin  America  bought 
more  Hollywood  pictures 
last  year  than  all  Europe. 
No  wonder  the  producers 
have  gone  "Spanish  ver- 
sion" mad. 


DERNICE  CLAIRE 
had  the  flu  for  a 
while  last  month  and  no 
one  knew  it.  Incident- 
ally her  real  name  is 
Johnigan.  She  was  born 
in  California  and  is  an 
Oakland  girl. 


film  famous  are  doing  in  the  Movie  Capita 


C  PEAKING  of  Harold  Lloyd  and  his  dogs,  forty  of 
his  prize-winning  animals  are  going  to  be  given 
away.  $15,000  worth  of  dog.  The  reason  is  that  the 
neighbors  complain  they  are  too  noisy.  When  Harold 
built  his  kennels  there  was  not  a  house  within  a  half 
mile.  Now  the  neighborhood  has  built  up  and  although 
there  first,  the  bowwows  must  go. 


I£KIC  PEDLEY,  of  Hollywood  and  one  of  the  best 
polo  players  in  the  United  States.  Mrs.  T.  H. 
Dudley  (formerly  Louise  Williams),  who  was  doubles 
champion  of  the  United  States  with  Mary  K.  Browne, 
and  Marion  Hollins,  who  was  women's  golf  champion 
a  few  years  ago,  sat  at  a  dinner  seven  years  ago.  They 
said  that  whichever  one  of  them  made  a  million  dollars 
first  would  give  the  other  two  $25,000  apiece. 

Marion  Hollins  sold  some  oil  rights  in  Kettleman 
Hills  last  month  and  gave  another  dinner.  Underneath 
Pedley's  and  Mrs.  Dudley's  plates  were  checks  for  the 
25  errand. 


Raquel  Torres'  real  name  is  Raquel  Von  Osterman. 


ENTERTAINING  for  the  first  time  since  her  return 
to  Hollywood,  Mrs.  Frederick  Worlock  (Elsie  Fer- 
guson), and  her  husband,  gave  a  dinner  party  at  the 
Assistance  League  in  Hollywood. 

This  tea  room  is  run  for  the  benefit  of  charity,  and 
many  of  the  wives  of  prominent  actors,  writers  and 
sometimes  the  stars  themselves  who  can  find  the  time, 
have  contributed  by  serving  at  luncheon  and  dinner. 
The  tea  room  is  the  top  floor  of  a  house,  converted  into 
a  really  charming  old-fashioned  dining-room.  Mrs. 
Abraham  Lehr  is  in  charge  of  the  activities. 

The  room  was  lighted  with  many  candles  and  deco- 
rated with  pink  and  yellow  spring  and  summer  flowers. 
The  small  tables  were  set  with 
quaint  china  and  old  silver,  and 
everyone  voted  Miss  Ferguson  a  lot 
of  thanks  for  finding  so  new  and 
charming  an  atmosphere  for  enter- 
taining away  from  home. 

The  guests  were  Mr.  and  Mrs. 
Basil  Rathbone,  Mr.  and  Mrs. 
Lionel  Barrymore,  Mr.  and  Mrs. 
H.  B.  Warner,  Mr.  and  Mrs.  Louis 
Lighton  (Hope  Loring),  Mr.  and 
Mrs.  Edwin  Knopf,  Mr.  and  Mrs. 
Benjamin  Glazer,  Ilka  Chase, 
Ruth  Shipley,  Leonora  Harris,  E. 
Sidney  Howard,  Arthur  Richman, 
Paul  Dicey,  Achmed  Abdullah,  A. 
E.  Thomas  and  others. 


TV/TARY  PICKFORD  gave  a 
luncheon  recently  in  her 
pretty  bungalow  on  the  United 
Artists  lot  in  honor  of  Mei  Lan- 
Fang.  the  famous  Chinese  actor. 
As  her  guests  she  invited  Mr.  and 
Mrs.  Maurice  Chevalier,  Mr.  and 
Mrs.  Louis  Bromfield,  Mr.  and  Mrs. 
Ernest  K.  Mey,  Dolores  Del  Rio, 
Gloria  Swanson,  Joseph  Schenck 
and  C.  C.  Chang. 


Charlie  Farrell  and 
Virginia  Valli  are  being 
seen  everywhere  together 
again  now. 


gILLIE  DOVE  enter- 
tained with  a  supper- 
dance  at  the  Embassy 
Club  following  the  pre- 
mier of  "Hell's  Angels." 
The  gowns  of  the  women 
guests  were  particularly 
lovely.  Small  tables  were 
set  about  the  dance  floor. 
Miss  Dove  was  in  a  soft 
taffeta  gown  of  green- 
blue,  ornamented  in  gold 
stars,  with  a  short  jacket 


Harold  Lloyd:  Postponed    his 
sea  trip  to  make  new  film,  be- 
cause of  appendix. 


coat  of  the  same  material. 
The  guest  list  included  Charlie  Chaplin,  Mr.  and  Mrs. 
John  Gilbert  (Tna  Claire),  whose  blonde  beauty  was 
set  off  by  a  white  gown,  with  heavy  silk  fringe  across 
the  skirt;  Mr.  and  Mrs.  Walter  Morosco  (Corinne 
Griffith),  in  a  lovely  gown  of  pale  blue  with  a  tight 
little  jacket  of  blue  and  gold  metal  cloth  ;  Ben  Lyon  and 
Bebe  Daniels,  Colleen  Moore,  John  Considine  and  Joan 
Bennett,  in  Avhite  tulle ;  Jean  Harlow  also  in  white ;  Mr. 
and  Mrs.  Richard  Barthelmess,  James  Hall  and  Myrna 
Kennedy,  Hoot  Gibson  and  Sally  Eilers,  Mrs.  Mae 
Sunday  and  Wallace  Davis,  Mr.  and  Mrs.  Harold  Lloyd, 
Mr.  and  Mrs.  Allan  Dwan.  Gloria  Swanson,  Mr.  and 
Mrs.  Irving  Thalberg  (Norma  Shearer),  Estelle  Taylor 
Dempsey,  in  a  backless  gown  of  beige  lace;  Mr.  and 
Mrs.  Ben  Bard  (Ruth  Roland),  Joseph  Schenck,  Vir- 
ginia Cherrill,  Will  Hays,  Mr.  and  Mrs.  Henry  Hobart. 

#      #       * 

Bill  Powell  is  in  London  with  Ronny  Colrnan. 


'"THE  most  brilliant  dinner-dance 
of  the  season  was  given  by 
Marion  Davies  at  her  beautiful 
beach  home  in  honor  of  Baron  De 
Rothschild,  who  was  her  house  guest 
during  his  brief  stay  in  Hollywood. 

The  magnificent  table  in  Miss 
Davies'  dining-room  was  set  for 
sixty  guests  and  there  was  dancing 
in  the  lovely  gold  and  ivory  ball 
room,  overlooking  the  ocean. 

On  Miss  Davies'  right  was  the 
Baron  and  on  her  left  Florenz  Zieg- 
feld.  Miss  Davies  wore  a  gown  of 
pale  blue  chiffon,  and  magnificent 
sapphires,  in  a  ring,  bracelet  and 
necklace. 

Her  guests  included  Gloria 
Swanson,  in  a  gown  of  silver  gray 
lace,  Mrs.  Florenz  Ziegfeld  (Billie 
Burke),  Mr.  and  Mrs.  Louis  B. 
Mayer,  Mr.  and  Mrs.  Frederick 
AVorlock  (Elsie  Ferguson),  Mr. 
and  -Mrs.  Ralph  Forbes  (Ruth 
Chattei-ton,  looked  particularly 
beautiful  in  a  dancing  frock  of 
pure  white  chiffon),  lien  Lyon  and 
Bebe  Daniels,  Mr.  and  Airs. 
Richard  Barthelmess,  Mr  and  .Mrs. 

15 


Al  the  News  of  the  Famous  Motion  Picture 


LupeVelez:    She   is   still   the 

storm  center  of  popular  Gary 

Cooper's  affections. 


George  Fitzmauriee,  Mr. 
and  Mrs.  Adolphe  Men- 
jou,  Colleen  Moore,  Wil- 
liam Haines,  Mr.  and 
Mrs.  Walter  Morosco 
(Corinne  Griffith),  Bea- 
trice Lillie,  Dorothy  Mack- 
aill,  Gene  Markey,  Cedrie 
Gibbons,  Grace  Moore  in 
a  white  satin  gown 
trimmed  with  brown 
feathers ;  Dolores  Del  Rio, 
all  in  black  with  magnifi- 
cent diamonds ;  Marilyn 
Miller,  Betty  Bronson, 
Lloyd  and  Carmen  Pan- 
tages,  Edmund  Goulding 
and  Seen  a  Owen,  Mrs. 
Sadie  Murray,  Anita  Murray,  Matt  Moore,  Virginia 
Cherrill,  Andre  Luguet,  Tania  Fedor,  and  Mr.  and  Mrs. 
John  Gilbert  (Ina  Claire). 


11JOLLYWOOD  society  has  been  remarkably  gay  of 
late.  Parties  for  Bebe  Daniels  and  Ben  Lyon  oc- 
cupied many  high  spots  on  the  social  calendar. 

Among  the  most  interesting  affairs  was  a  luncheon- 
shower  given  by  Mrs.  Townsend  Netcher  (Constance 
Talmadge)  at  her  beautiful  beach  home.  The  small 
tables  were  decorated  with  little  dolls,  dressed  as  bride 
and  groom,  and  lovely  spring  flowers.  Among  the 
guests  were  Mae  Sunday,  Norma  Talmadge,  Marion 
Davies,  Betty  Compson,  Lila  Lee,  Colleen  Moore,  Billie 
Dove,  Louella  Parsons,  Mrs.  Edwin  Knopf,  Mrs.  Harold 
Lloyd,  Mrs.  Natalie  Talmadge  Keaton,  Mrs.  Peg  Tal- 
madge, Mrs.  Phyllis  Daniels,  Bessie  Love,  Corinne 
Griffith,  Carmelita  Geraghty  and  Seena  Owen. 

The  girls  wore  gay  sport  suits  and  Connie  herself 
was  in  brilliant  yellow  pajamas,  with  a  white  satin 
waist  and  a  long  coat. 


Hoot  Gibson  has  a  new  Packard  speedster  that  steps 
up  to  125  miles  an  hour. 


M 


'RS.  SADIE  MURRAY  of  New  York,  who  has 
taken  a  home  in  Beverly  Hills  since  her  daugh- 
ter, Anita  Murray,  went  into  pictures,  gave  a  beautiful- 
ly appointed  dinner-dance  for  Miss  Daniels  and  Mr. 
Lyon.  A  buffet  supper 
for  a  hundred  guests  was 
served.  The  guest  list  in- 
cluded Mr.  and  Mrs.  Ed- 
gar Selwyn,  Mr.  and  Mrs. 
Maurice  Chevalier,  Mr. 
and  Mrs.  Don  Alvarado, 
Colleen  Moore,  Leatrice 
Joy,  William  Haines, 
Beatrice  Lillie,  Polly  Mo- 
ran,  Dolores  Del  Rio, 
Marilyn  Miller,  Lloyd  and 
Carmen  Pantages,  Mr. 
and  Mrs.  Jack  Mulhall, 
Rube  Goldberg,  Lew 
Cody,  Mr.  and  Mrs.  Mil- 
lard Webb  (Mary  Eaton), 
Buster  Collier  and  Marie 
Prevost,    Marion    Davies, 

16 


Cedrie  Gibbon,  Jimmy  Shields,  Ivan  Lebedeff,  Fifi 
Dorsay,  Hoot  Gibson  and  Sally  Eilers,  Elsie  Janis  and 
Mrs.  Janis,  Jack  King. 


QLORIA  SWANSON,  whose  husband,  the  Marquis 
De  la  Falaise,  is  still  in  Paris,  and  from  whom  it 
is  rumored  she  may  soon  be  divorced,  is  being  seen  out 
nowadays  with  a  number  of  very  distinguished  and 
handsome  young  escorts.  Among  them  Gene  Markey, 
the  writer,  and  Sidney  Howard,  the  playwright.  Small 
wonder  she's  popular.  There  has  never  been  and  prob- 
ably never  will  be  as  attractive  a  woman  in  the  film 
colony  as  the  stunning  Miss  Swanson. 


William  Famum  is  fifty-four  years  old. 


QEORGE  OLSEN'S  Supper  Club,  on  the  road  be- 
tween Hollywood  and  Santa  Monica,  is  getting  a 
great  play  from  the  film  colony.  Any  evening  you  drop 
in  there  you  are  sure  to  see  a  number  of  stars  dining 
and  dancing.  Mae  Murray  and  her  husband,  Millard 
Webb  and  his  pretty  wife,  Mary  Eaton,  were  there 
with  a  party  recently.  Mae  Murray  looked  stunning  in 
black,  with  a  little  black  and  silver  hat.  Buster  Collier 
and  Marie  Prevost  were  there,  too,  Marie  in  a  white 
sports  costume.  Colleen  Moore  and  Julanne  Johnson, 
accompanied  by  Willis  Goldbeck  and  Harold  Grieve, 
Hollywood's  favorite  interior  decorator,  were  having  a 
gay  little  supper  party.  Eddie  Cantor  and  his  wife  en- 
tertained a  big  dinner  party. 


JOHN  BARRYMORE  and  his  wife,  Dolores  Costello, 
are  planning  to  go  to  Alaska  soon  for  the  salmon 
fishing,  aboard  Jack's  marvelous  new  yacht.  They 
haven't  decided  yet  whether  to  take  little  Miss  Barry- 
more,  who  is  only  a  few  months  old,  but  probably  they 
will  leave  her  at  home  in  Beverly  Hills. 


JANET  GAYNOR  is  still  at  outs  with  the  Fox  Studios 
over  stories.  She  says  that  she  does  not  intend  to 
do  any  more  "High  Society  Blues,"  a  picture  she  de- 
tested. However,  now  that  Winnie  Sheehan  is  back  on 
the  West  Coast,  the  little  star  will  probably  have  her 
difficulties  adjusted.  In  the  meantime  she  has  taken  a 
beach  house  at  Playa  Del  Rey  with  her  husband,  Lydell 

Pack,  and  seems  to  be  en- 
joying her  vacation.  She 
likes  to  slip  away  now  and 
then  and  dance  at  the 
public  dance  hall  on  the 
Venice  Pier,  where  no  one 
ever  recognizes  her. 


Everyone  in  Hollywood 
is  taking  French  or  Span- 
ish lessons. 


tTOOT  GIBSON  and 
Sally  Eilers  expect 
to  be  married  some  time 
this  summer.  Not  a  big 
wedding,  just  a  few  inti- 


Stars  and  Their  Hollywood  Activities 


mate  friends.  Sally  is  reported  on  the  verge  of  a  Metro- 
Goldwyn-Mayer  contract,  and  now  that  Ziegfeld  has 
named  her  the  most  beautiful  girl  in  Hollywood,  she 
ought  to  be  much  sought  by  producers.  Hoot  is  con- 
centrating on  his  new  ranch  at  Saugus.  He  aims  to 
make  his  yearly  rodeo  second  only  to  the  Pendleton 
Eound-Up. 


TV/TRS.  PATRICK  CAMPBELL,  for  many  years  one 
of  the  great  actresses  and  great  beauties  of  London, 
is  in  Hollywood — just  for  a  visit,  she  says.  She  recently 
closed  a  London  season  in  "The  Matriarch."  It  is  well- 
known  that  Mrs.  Campbell  has  for  years  studied  the  art 
of  the  speaking  voice,  which  is  her  great  hobby.  Holly- 
wood thinks  she  may  remain  to  instruct  young  screen 
stars  in  proper  dramatic  speaking.  An  interesting  addi- 
tion— for  Mrs.  Campbell  is  one  of  the  old  school  of  the 
famous  actresses  around  whom  legends  center.  Once 
when  she  played  in  New  York  the  manager  had  to  cover 
the  streets  for  blocks  with  tan  bark,  because  she  said  the 
noise  of  traffic  disturbed  her  when  she  was  playing. 


\/[  AURICE  CHEVALIER'S  wife  is  a  very  pretty  lit- 
tie  Frenchwoman,  with  blue-black  hair  and  a  vi- 
vacious manner.  Her  accent  is  fascinating  and  her 
sense  of  humor  always  ready.  The  other  evening  at  a 
dinner  party  at  Sadie  Murray's  she  turned  the  tables 
on  a  "comic  butler,"  imported  for  the  occasion,  and  was 
much  funnier  than  he  was.  She  is  a  devoted  wife,  and 
the  Chevaliers  lead  a  very  quiet  life,  always  going  home 
early  from  parties.  Mrs.  Chevalier  has  the  same  de- 
lightful French  accent  that  marks  her  husband's  speak- 
ing on  the  screen. 


Ten  million  dollars  was  paid  for  a  tract  of  land  in  the 
mountains  between  Santa  Monica  and  Beverly  Hills. 
Eastern  capitalists  say  they  will  make  plenty  of  money 
on  the  deal. 


\X7"ITHIN  ten  days  of  the  end,  Mary  Pickford  has 
^  *  called  off  her  new  picture,  "Secrets,"  and  the  latest 
report  is  that  she  will  start  all  over  again  with  a  new 
cast,  director  and  cameraman — especially  cameraman. 
The  news  shocked  Hollywood,  since  it  was  rumored  that 
she  was  getting  a  great 
picture  out  of  this  once 
successful  stage  play. 
Marshall  Neilan  was 
directing. 


ful  wife.  Jesse  Lasky  and 
Walter  Wanger  —  Mr. 
Lasky  has  just  returned 
from  Europe  to  resume 
active  control  of  the  Para- 
mount forces.  Dolores  Del 
Rio,  very  lovely  in  a  sport 
suit  of  green,  with  her 
most  intimate  friend,  Mrs. 
Don  Alvarado.  Mrs. 
George  Fitzmaurice  and 
Mrs.  Richard  Barthel- 
mess.  Mae  Sunday,  in  a 
white  skirt  and  an  orchid 
sweater,  and  Beatrice  Lil- 
lie. 


Mrs.   Maurice    Chevalier:     A 

former  Paris  favorite,  she  has 

a  ready  wit. 


D 


HpHE  Embassy  is  very 
gay  at  lunch  time 
these  days.  Saw  Evelyn 
Brent  there  the  other 
day,  lunching  with 
Micky  Flynn.  Monta 
Bell,  just  back  in  Hol- 
lywood after  directing 
in  New  York,  at  a  table 
with  Mr.  and  Mrs.  Ed- 
gar Selwyn.  Carmel 
Myers  with  a  group  of 
girl  friends.  Warner 
Baxter  and  his  beauti- 


,OUGLAS  FAIRBANKS,  born  in  Denver,  Colo- 
rado, had  a  birthday  May  23rd.  The  stars  that 
day  said :  Self-confidence,  perseverance  and  enthu- 
siasm are  characteristics  of  those  born  today.  Their 
actions  reflect  daring,  courage,  forcefulness  and 
thought  and,  while  they  are  artistic,  they  also  possess 
business  ability.  Which  is  a  pretty  good  description 
of  one  Doug  Fairbanks  as  Hollywood  knows  him. 


Vilma  Banky  says  she  never  did  realize  what  happi- 
ness was  until  she  retired  from  the  screen  and  became 
a  home-maker  for  Bod  La  Bocque. 


tJARRY  LAUDER  says  they  make  talkies  better  in 
Hollywood  than  in  England  and  that  is  the  rea- 
son he  is  going  there  to  make  his  first  talkie. 


"lyiNNIE  SHEEHAN,  newly  elected  head  of  Fox 
Films,  was  given  a  monster  banquet  upon  his  re- 
turn to  Hollywood  from  New  York.  One  hundred  and 
thirty-five  people,  among  them  Will  Hays,  Will  Rog- 
ers, Flo  Ziegfeld,  Sam  Goldwyn,  Al  Jolson,  Sid  Grau- 
man,  Rube  Goldberg,  Irving  Thalberg  and  Cecil  B. 
De  Mille  whooped  it  up  in  his  honor. 


QARY  COOPER  and 

Lupe  Velez  were 
riding  on  the  roller 
coaster  at  the  Venice 
Pier,  a  beach  near  Hol- 
lywood. Gary  wanted 
to  get  off  after  the  sec- 
ond trip  but  Lupe 
adores  the  roller  coast- 
er, so  they  rode  seven- 
teen times  more.  After- 
wards they  visited  all 
the  concessions  a  n  d 
Lupe  went  home  load- 
ed with  vases  and  kew- 
pie  dolls,  ornamented 
w  i  t  h  feathers.  The 
strong,  silent  young 
man  of  the  films  seems 
to  be  wax  in  Lupe's 
hands. 


rt<KIWU.»nr_ 


17 


WHAT   HOLLYWOOD   FOLKS   ARE  TALKING  ABOUT 


D' 


}OUGr  MacLEAN  just  returned  to  Hollywood  from 
a  trip  around  the  world  on  a  freighter.    He  is  busy 
writing  a  play. 


Who    has    forgotten 
'Seventh  Heaven" f 


XTNUTE  ROCKNE  is 
going  to  make  a  se- 
ries of  short  football  talks 
— illustrated — for  Pathe. 
What  with  the  movies, 
newspaper  and  magazine 
writing,  after-dinner 
speeches,  and  whatnot,  it 
is  getting  so  that  football 
coaches  are  doing  every- 
thing except  coach  foot- 
ball. 


George   Bancroft:     Goes    to 

New  York  to  negotiate  a  new 

Paramount  contract. 


JJOLLYWOOD   is   fast 
becoming    the    liter- 


ary center  of  the  world. 
Theodore  Dreiser  (The  American  Tragedy),  P.  G. 
Wodehouse  (Jeeves),  Richard  Hali burton  (Royal  Road 
to  Romance),  Louis  Bromfield  (Green  Bay  Tree),  "W. 
E.  Woodward  (Meet  General  Grant),  Sinclair  Lewis, 
Will  Durant,  Zoe  Aiken,  Frederick  Lonsdale,  Rupert 
Hughes,  Gene  Markey,  Maxwell  Anderson  and  a  flock  of 
other  noted  authors  are  all  in  the  cinema  city. 


Blanche  Mehaffey  has  changed  her  red  hair  to  blonde 
and  her  name  to  Joan  Alden. 


T  RENE  MAYER  and  Dave  Selznick,  newlyweds,  took 
a  honeymoon  trip  across  the  continent  without  even 
as  much  as  a  toothbrush  for  baggage.  Their  grips  were 
sent  to  the  wrong  station  in  Los  Angeles,  so  missed  their 
train.  Then  Papa  Louis  B.  Mayer  put  the  bags  into  an 
airplane  hoping  to  catch  the  train  at  Albuquerque.  But 
engine  trouble  forced  the  plane  down  and  the  young 
couple  were  shirtless  until  Chicago. 


QHARLIE  CHAPLIN  held  up  traffic  by  blocking  the 
streets  in  Beverly  Hills.    But  he  did  not  intend  to. 
He  just  shot  some  scenes  in  the  street  and  people  flocked 
around  until  the  cops  had 
to  be  called. 

*  *       * 

gEN  LYON'S  fan  mail 
dropped  from  over 
five  hundred  a  day,  which 
he  was  getting  when  he 
started  "Hell's  Angels," 
to  twenty-five  a  day  at  the 
end  of  the  picture.  That's 
because  he  was  almost 
three  years  off  the  screen. 
But  now  the  postman  is 
beginning   to    get    weary 

again. 

#  *       # 

npHEODORE     DREIS- 

ER,  the  famous  author, 

in    Hollywood    on    both 

18 


business  and  pleasure,  says  that  before  he  made  any 
money  he  had  trouble  dodging  bill  collectors.  Now  that 
he  has  money  he  has  more  trouble  dodging  bond  sales- 
men. "And  of  the  two  the  bond  boys  are  the  tough- 
est," he  says. 


A  MOVEMENT  i  s  o  n 
■^  foot  among  educators 
of  children  to  make  the 
talking  picture  the  next 
text-book.  Historical  and 
geographical  subjects  will 
be  made  into  one-reelers 
and  shown  school  children 
in  the  classroom.  Nature 
studies  will  be  photo- 
graphed in  color. 

Can    you    imagine   the 
difference   between   read- 
ing about  Washington  at 
Valley  Forge  and  seeing 
it  in  a  motion  picture  ?  Or 
the  Battle  of  Bull  Run? 
Or  the  Gettysburg  address  ? 
and  Hamilton?    Instead  of 
ol'  swimming  hole  on  a  hot 
longer  lose  interest. 


John   Barrymore :    Going  on 

his  yacht  to  Alaska  with  his 

wife,  Dolores. 

Or  the  duel  between  Burr 
having  their  minds  on  the 
May  day,  the  kids  will  no 


A  CHIMED  ABDULLAH,  magazine  writer  now  break- 
ing into  the  movies,  says  he  is  just  a  laborer,  "turn- 
ing out  stories  instead  of  laying  bricks." 


CIX  alligators  got  loose  on  the  Metro-Gold wyn-Mayer 
lot  and  could  not  be  found.  Buster  Keaton,  in 
making  his  latest  picture,  Avalks  into  a  seven-foot-deep 
mudhole  and  disappears.  He  came  up  gasping  and  got 
out  of  the  hole  in  a  hurry.  Looking  at  a  tear  in  his 
panties  he  yelled,  "Tell  that  zoo  one  of  their  damn  alli- 
gators is  in  my  hole." 

*       *       * 

A  L  JOLSON  has  given  funds  to  be  used  to  erect  a 
■^  Catholic  Church  at  Palm  Springs,  desert  resort  not 
far  from  Hollywood  muchly  frequented  by  movie  folk. 
This  in  order  that  tourists  who  wish  to  go  to  church 
can  do  so  without  crowding  the  small,  homely  building 
now  used  by  the  Indians. 


Shades  of  red  and  Hue 
are  the  most  popular  col- 
d's in  Hollywood. 

*       #       * 

TORETTA  YOUNG  has 
a  new  contract  which 
calls  for  $875  a  week  for 
the  first  year,  $1,250  a 
week  the  second  year, 
$1,750  the  third,  $2,250 
the  fourth,  and  $2,750  a 
week  the  fifth  year.  First 
National  has  the  option  of 
canceling  the  contract  at 
the  end  of  any  year.  But 
figure  it  up,  if  they  don't. 
(Continued  on  page  97) 


MARGUERITE  CHURCHILL 


Photograph  by  Autrey 

L9 


Photograph  by  Hurrell 


RAQUEL  TORRES 


20 


WILLIAM    POWELL 


Photograph  by  Richee 


21 


Photograph  by  Hurrell 


NORMA   SHEARER 


22 


RICHARD  BARTHELMESS 


Photograph  by  Elmer  Fryer 


23 


Photograph  by  Hurrell 


CHARLES  BICKFORD 


24 


MARION  DAVIES 


Photograph  by  Hurrrll 


25 


AL  JOLSON 


26 


Back 
to  Her 

FIRST 

HATE 


By  DICK  HYLAND 


ELSIE  FERGUSON  has  returned  to  her  first 
hate. 
She  is-  back  in  motion  pictures. 
Eight  years  ago,  Elsie  Ferguson  volun- 
tarily abdicated  her  Hollywood  throne.  She  turned 
her  back  upon  the  world-wide  fame  which  the 
screen  alone  can  give  an  actress.  She  gave  up  a 
salary  which  paid  her  thousands  of  dollars  every 
week. 

A  star  whose  beauty  and  ability  had  raised  her 
in  a  few  pictures  to  rank  with  the  greatest,  she 
simply  and  without  explanation  walked  out  on  Holly- 
wood. 

Now  she  has  come  back.  The  great  position  she 
left  was  not  waiting  for  her.  That  doesn't  happen. 
Where  once  her  name  was  twenty-four-sheeted  in  movie 
palaces,  as  it  had  been  for  years  on  Broadway,  her  first 
role  after  her  return  was  a  supporting  one  with  George 
Arliss. 

As  there  was  much  talk  when  she  went  away,  there 
is  much  talk  now  that  she  has  come  back.  Seeing  her 
one  evening,  slim  and  lovely  and  serene  as  ever,  I 
wondered  why  she  had  left  the  screen  and  why  she  had 
returned.  Her  fans  had  been  sad  when  she  went  away 
and  would  be  happy,  even  after  many  years,  to  know 
that  she  was  once  more  before  the  camera. 

T  WENT  to  the  Beverly  Hills  Hotel  to  ask  her.  I 
•■■  went  a  little  timidly,  because  I  had  heard  plenty  of 
tales  relating  to  the   Ferguson  temperament. 

My  fears  were  groundless.  A  more  gracious  lady  I 
have  never  met.  Charming,  frank,  easy  to  talk  to,  the 
loveliest  speaking  voice  I  have  ever  heard,  little  flashes 
of  humor  illuminating  her  serious  talk,  she  gave  me 
three  of  the  pleasantest  hours  I  have  ever  spent  in 
Hollywood. 

"Why  did  you  leave  the  screen?"  I  asked  her. 

She  mused  a  moment.  I  studied  the  graceful  line  of 
her  head,  the  clean-cut  features.  She  is  the  patrician, 
poised  type  of  beauty,  with  the  perfect  features  that 


Elsie  Ferguson   left  pictures  because  she  wanted  to  use  her 

voice.    She  wasn't  happy  and   she  went  back  to  the  stage. 

Now  she  has  returned  to  the  talking  screen. 


years  do  not  touch,  unless  to  make   more   attractive. 

"Have  you  ever  been  in  a  stuffy  room  for  a  long 
time,"  she  asked  me,  "and  suddenly  felt  that  you  just 
had  to  go  out  and  get  a  breath  of  fresh  air?  That  is 
the  way  I  felt  about  "pictures.  You  see,  to  me  fame 
and  money  don't  mean  much  if  you're  not  happy.  I 
wasn't  happy  making  motion  pictures.  So  I  left  and 
went  back  to  the   stage." 

In  that  last  sentence  is  more  than  appears  upon  the 
surface.  Elsie  Ferguson  loved  the  stage  and  the  op- 
portunities   it    gave    her. 

Coming  from  the  stage  to  silent  films,  Elsie  Fer- 
guson's beauty  and  acting  ability  made  her  a  great 
success.     But  not  for  long  would  she  be  content. 

PLSIE  FERGUSON'S  voice  was  a  great  part  of  her 
*-*  work.  For  years,  while  New  York  audiences  packed 
theaters  to  see  her  in  "Outcast"  and  other  plays,  she 
had  trained  herself  to  achieve  much  of  her  dramatic 
effect  through  her  voice  alone.  For  only  a  short  time 
could  she  be  happy  without  using  it.  For  a  while  she 
struggled  along,  feeling  bound  and  handicapped,  grow- 
ing restless  and  unhappy.  Then  the  urge  to  get  back 
to  the  stage  became  so  great  that  it  could  no  longer 
be  denied. 

But  the  day  she  heard  her  first  talkie  a  new  vista 
opened.  The  advantages  of  the  camera  with  its  wide 
scope,  plus  the  possibility  of  using  the  voice,  thrilled 
her  and  awakened  in  her         (Continued  on  page  119) 


'I  have  no  false  pride.    It  doesn't  bother  me  that  I  was 
a  star  and  am  not  one  now.     I'm  still  Elsie  Ferguson/' 


27 


Al  Jolson 
$1,000,000  a  year, 


Looking  into theStars' 

Motion   Picture   Salaries   are  Tumbling   After  the  Most 
Radical  Upheaval  That  Ever  Hit  Hollywood 


ARE  movie  salaries  coming  down? 

/\  The  most  radical  salary   upheaval   that  ever 

y~\    hit  Hollywood  followed  the  advent  of  the  talkie. 
Indeed,  any  number  of  stars  were  eliminated — 
salary,  position  and  all. 

Past  reputations  in  the  silent  drama  meant  nothing. 
New  singing  faces  and  dancing  feet  were  imported 
from  the  Broadway  stage.  The  screen  went  musical 
comedy  mad. 

Favorites  of  years  standing  were  pushed  to  the  wall. 
Some  of  them,  as  Richard  Barthelmess,  survived — and 
went  on  to  new  heights.  Others,  such  as  Tom  Mix,  Emil 
Jannings,  Pola  Negri,  Thomas  Meighan  and  Adolphe 
Menjou,  were  shunted  aside.  Right  now  more  stars 
seem  about  to  be  pushed  from  prominence.  Among 
these  are  Colleen  Moore,  Corinne  Griffith  and  Billie 
Dove.  Such  favorites  of  yesteryear  as  Jack  Gilbert  and 
Lon  Chaney  have  their  careers  hanging  in  the  balance. 

Even  worse  than  the  havoc  wrought  among  the  stars 
has  been  the  situation  con- 
fronting the  featured  players. 
The  avalanche  of  stage  play- 
ers and  dancers  has  crowded 
them  into  the  background. 

There  is  little  question  that 
— in  this  puzzling  year  of 
1930 — the  star  is  waning  and 
movie  salaries  are  going 
down.  The  tendency  has  been 
in  that  direction  for  the  last 
two  years.  As  to  the  future, 
the  authors  of  this  article  dis- 
agree. Mr.  Lane  believes  that 
the  star  is  done  and  that  sal- 
aries will  drop  from  twenty  to 
fifty  per  cent  further.  Mr. 
Smith  thinks  that  the  talkie 
will  develop  a  new  set  of  stars, 
since  the  fundamental  appeal 
of  the  screen — silent  or  noisy 
— is  personality.  And,  with 
the  development  of  new  stars, 
he  believes  that  salaries,  after 
an  era  of  adjustment,  will 
head  upward  again. 

28 


In  1915  Mary  Pickford  topped  movie 
salaries  at  $2,000  a  week. 
In  1920  Alia  Nazimova  was  drawing 
the  highest  salary,  $13,000  each  week. 
As  head  of  her  own  company,  Mary 
Pickford  had  climbed  to  $500,000  and 
Charlie  Chaplin  was  close  behind.  Bill 
Hart  earned  $900,000  in  the  years  of 
1919  and  1920.  Theda  Bara  was  get- 
ting $4,000. 

In  1925  Harold  Lloyd  topped  the  field, 
running  close  to  $1,500,000. 
This  year  Al  Jolson  leads,  at  $1,000,000. 
Just  behind  are  Harold  Lloyd,  Mary  Pick- 
ford, Doug  Fairbanks,  Charlie  Chaplin, 
Gloria  Swanson  and  Norma  Talmadge. 


Before  detailing  the  salary  damages  of  the  last  two 
years,  it  is  interesting  to  note  how  movie  acting  re- 
muneration climbed  steadily  upward  for  fifteen  years. 

TN  1915  Mary  Pickford  was  drawing  the  fattest  salary 
A  envelope.  Every  week  she  received  a  check  for 
$2,000.  Charlie  Chaplin  was  banking  exactly  $1,000. 
Frank  Keenan  was  getting  the  top  salary  for  a  dramatic 
star,  $1,000  each  week,  from  the  late  Thomas  H.  Ince. 
Francis  X.  Bushman  topped  the  screen  lovers  at  $750 
a  week.  Two  stage  stars  came  to  films  for  brief  en- 
gagements in  1915.  Billie  Burke  received  $40,000  for 
one  picture,  "Peggy."  Geraldine  Farrar  was  given  the 
same  amount  for  three  pictures. 

Turn  now  to  1920.  Five  years  have  passed.  The 
highest  salaried  player  is  Alia  Nazimova.  Metro  paid 
this  bizarre  star  $13,000  a  week.  Next  among  the 
salaried  stars  were  Elsie  Ferguson,  who  is  just  starting 
a  Hollywood  come-back,  and  Geraldine  Farrar.     These 

two  stars  received  $10,000  a 
week. 

In  1920  Mary  Pickford,  as 
head  of  her  own  company, 
profited  to  the  tune  of 
$500,000  on  the  year.  Charlie 
Chaplin  made  something  less 
than  a  half  million.  Norma 
Talmadge  and  Anita  Stewart 
each  earned  close  to  $500,000 
during  1920.  Bill  Hart  ran 
up  the  total  of  $900,000  in 
earnings  in  the  two  years  of 
1919  and  1920.  In  1915  he 
had  been  drawing  $300  a 
week. 

Theda  Bara  was  receiving 
$4,000  a  week.  Other  highly 
paid  stars  of  1920  (earning 
between  $1,000  and  $5,000) 
were  Marguerite  Clark,  Pearl 
White,  Pauline  Frederick,  El- 
sie Ferguson,  Mabel  Normand 
and  Mae  Marsh.  Charlie  Ray, 
one  of  the  idols  of  the  day, 
was   getting   but   $500,    how- 


Norma  Talmadge 
$250,000  o  year. 


Richard  Barthelmess 
$450,000  a  year. 


Greta  Garbo 
$300,000  a  year. 


SALARY  ENVELOPE 

BY  TAMAR  LANE  AND    FREDERICK   JAMES   SMITH 


ever.      Richard    Barthelmess    and    Lillian    Gish    were 
drawing  even  less. 

James  Kirkwood  and  Henry  Walthall  topped  all 
leading  men  in  1920  in  earning  capacity.  These  two 
actors  received  $1,000  each.  The  average  leading  man 
received  $750  or  less.  Leading  women  earned  $500 
or  so,  and  prominent  in  popularity  were  Betty  Comp- 
son,  Gloria  Swanson,  Florence  Vidor,  Wanda  Hawley, 
Naomi  Childers,  Lois  Wilson  and  Anna  Q.  Nilsson. 

MOVE  on  five  more  years.  It  is  1925.  Harold  Lloyd, 
not  visible  to  the  naked  eye  in  1915,  has  flashed 
from  nowhere  to  nearly  $30,000  a  week.  His  earnings 
were  totaling  close  to  a  million  and  a  half  every  twelve 
months.  The  big  money  earners  in  1925  were  Mary 
Pickford  and  Doug  Fairbanks,  at  about  a  million  each ; 
Charlie  Chaplin,  something  less,  due  to  slow  produc- 
tion; and  Norma  Talmadge,  a  million. 

Here  were  some  of  the  big  salaries  of  1925 :  Tom 
Mix  (the  biggest  flat  salary),  $15,000  a  week;  Rudolph 
Valentino,  $100,000  a  picture;  Lillian  Gish,  Gloria 
Swanson  and  Thomas  Meighan,  $8,000  a  week  each; 
Pola  Negri,  $5,000;  Richard  Barthelmess,  $2,500;  Bar- 
bara La  Marr,  $3,000;  Corinne  Griffith,  $3,000;  Milton 
Sills,  $2,500;  Ramon  Novarro,  $2,000;  Richard  Dix, 
$1,500;  Lon  Chaney,  $2,500;  Raymond  Griffith,  $1,500. 

Conway    Tearle    and 


Swanson  and  Norma  Talmadge.  These  stars  have  their 
own  companies  and  their  earnings  depend  upon  the  film 
profits.  These  profits  have  slumped  in  varying  degrees. 
Lloyd  has  moved  down  to  $700,000,  Chaplin  to  $250,000, 
Miss  Swanson  to  $400,000,  and  Miss  Talmadge  to 
$250,000.  Miss  Pickford  and  Mr.  Fairbanks  are  making 
about  $500,000  each. 

Two  of  the  highest  salaried  stars  are  Dick  Barthel- 
mess and  John  Barrymore.  Mr.  Barthelmess  is  averag- 
ing well  over  $8,000  a  week  to  make  only  two  pictures 
a  year.  These  two  pictures  occupy  about  three  months 
in  the  making,  leaving  the  rest  of  the  year  free.  John 
Barrymore  gets  $150,000  a  picture. 

One  of  the  record  salaries  of  the  year  was  paid  to 
John  McCormack,  the  Irish  tenor.  He  received  $50,000 
a  week  for  a  period  of  slightly  less  than  ten  weeks  to 
make  "Song  o'  My  Heart."  Marilyn  Miller  is  said  to 
be  getting  $200,000  for  each  film  in  which  she  appears. 
George  Arliss  draws  down  $50,000  a  picture.  Lawrence 
Tibbett's  salary  has  been  reported  to  be  as  high  as 
$75,000  a  picture. 

The  newer  stars  still  draw  what  are  termed  moderate 
salaries.  Buddy  Rogers  was  getting  $1,000  a  week 
until  recently,  Nancy  Carroll  draws  $1,200,  Gary  Cooper 
$1,500,  Richard  Arlen  $1,000,  and  John  Boles  $1,000. 
These  players  are  on  the  edge  of  big  money. 


Eugene  O'Brien  topped 
the  leading  men  with  a 
weekly  salary  envelope 
containing  $3,000.  Tom 
Moore  was  right  be- 
hind at  $2,500.  Flor- 
ence Vidor  led  the 
leading  women  at 
$2,000. 

WITH  which  we 
come  to  1930.  To- 
day we  find  Al  Jolson 
riding  at  the  top,  with 
yearly  earnings  run- 
ning over  the  $1,000,- 
000  mark.  The  big  six, 
iust  behind,  are  Harold 
Lloyd,  Mary  Pickford, 
Douglas  Fairbanks, 
Charlie  Chaplin,  Gloria 


1910       1915       1920      1925      1930       1935 


G 


EORGE     BAN- 


N 

v 

\ 

ill 

J 

• 

~1 

1 

111 

I 

Hi 

III 

$30,000 
$25,000 
$20,000 
$15,000 
$10,000 
$5,000 
$1,000 


The  talkie    has   knocked    the   Hollywood    pay  envelope    to   bits. 

The  trend  for  two  years  has  been  downward.    What  has  1935  in 

store  for  the  mcvie  actor? 


paid  $4,500  a  week  and 
has  been  asking  $8,000. 
Hence  his  recent  dis- 
agreement with  Para- 
mount. However,  an 
adjusted  increase  has 
been  given  him. 

Here  are  a  few  of 
the  bigger  salaries, 
quoted  at  random : 
Ruth  Chatterton, 
$2,250;  William  Powell, 
$1,700;  Janet  Gaynor, 
$3,000;  Richard  Dix, 
$5,000;  Warner  Bax- 
ter, $2,000 ;  Ramon  No- 
varro, $5,000;  Norma 
Shearer  $5,000;  Ronald 
{Cont'd  on  page   102) 

29 


Photograph  by  Elmer  Fryer 


LORETTA 
YOUNG 


The  beautiful  young  First  National  star  as  the  heroine,  Rosalie,  of  the  new  talkie 
version  of  Sir  Gilbert  Parker's  "The  Right  of  Way."      Conrad  Nagel  will  play  the 

role  of  Beauty  Steel. 


FLASH  BACKS  ,o,0YearsA9° 


By  Albert  T.  Reid 


31 


Marie  Dressier  is 
Poison  to  the  Stars 
of  Hoi  lywo  o  d. 
No  Picture  is  Safe 
when  she's  around 


THERE  is  a  thief  abroad  in 
Hollywood. 
At  the  mention  of  that  name 
the  greatest  stars  in  the  busi- 
ness tremble  as  Scotland  Yard  once 
trembled  at  the  name  of  Raffles.  No 
one  is  safe — not  even  the  immortal 
Garbo. 

Give  her  enough  footage  and  she'll 
steal  any  picture  from  anybody. 

Stealing  a  picture  is  an  achieve- 
ment almost  as  difficult  as  robbing 
the  Bank  of  England.  In  Hollywood 
it  is  the  secret  ambition  of  every 
actor   and   actress  who   isn't   a   star. 

Stealing  the  show  is  an  old  stage 
custom  which  has  elevated  many  a 
name  into  electric  lights. 

Stealing  a  picture  is  the  latest 
short  cut  to  high  salary  in  the 
movies. 

It  means  that  in  a  subordinate 
role  someone  has  overshadowed  the 
star.  A  player  cast  in  a  role  less 
important  than  the  star's  receives 
the  best  notices,  the  most  applause 
and  stands  out  as  the  person  to  be 
remembered  in  that  particular  pic- 
ture. 

Marie  Dressier  has  made  an  art  of  it. 

CHARACTER  women,  especially 
comedy  character  women,  are 
not  supposed  to  steal  pictures.  It's 
agin  nature.  They  are  supposed  to 
remain  in  the  background  as  props 
and  supports  for  the  glittering  youth, 
male  or  female,  who  happens  to  oc- 
cupy the  major  portion  of  the  title 
sheet. 

The  background  hasn't  been  in- 
vented that  can  hold  Marie  Dressier. 
She  just  naturally  pops  out. 

Walking  across  the  M-G-M  lot 
the  other  day,  I  heard  someone  say: 
"Well,  she's  done  it  again." 

Inquiry  revealed  that  Miss  Dressier 
had  just  finished  stealing  "Let  Us 
Be    Gay"    from 


There  are  two  rea- 
sons why  Marie 
Dressier  is  able  to 
dominate  scenes  and 
pictures:  First,shehas 
a  tremendous  per- 
sonality, vibrant  with 
fascination,  with 
sheer  h  umanity, 
second,  she  has  had 
forty  years  on  the 
stage,  at  everything 
from  chorus  girl  to 
star. 


Norma  Shearer, 
Rod  La  Rocque, 
Sally  Eilers  and 
Gilbert  Emery. 
Miss  Shearer  is 
young  and  beau- 
tiful  —  more 
beautiful  than 
she  has  been  at 
any  time  in  her 
screen  career. 
Besides  being 
an  excellent  ac- 
tress she  is  the 
wife    of    Irving 


Th 
THUNDER 

THIEF 


By 

ADELA    ROGERS 
ST.    JOHNS 


Thalberg,  dictator  extraordinary  of  the  Metro-Goldwyn- 
Mayer  productions.  He'd  be  a  funny  man  if  he  didn't 
see  to  it  that  his  wife  didn't  get  any  .the  worst  of  it 
in  stories,  directors  and   production  value. 

Nevertheless,     Marie     Dressier     had     succeeded 
taking  the  honors. 


in 


BILL  HAINES,  who  is  one  of  her  greatest  friends, 
said  to  me  the  other  day:  "Look  what  she  did  to 
me,  the  old  thief.  Why,  she  just  took  'The  Girl  Said 
No'  right  out  from  under  my  nose.  Once  you  let  her 
on  the  set  you're  finished. 

"She  said  to  me,  'Oh,  Bill,  my  teeth.  I've  had  such 
trouble  with  my  teeth.  It's  funny,  since  we've  got  such 
fine  dentists,  how  much  more  trouble  you  have  with 
your  teeth  than  you  ever  did  before.  What  is  this 
picture?  I'm  sure  I  can't  do  it.  My  teeth  bother  me 
so.  They  say  I  did  well  in  "Anna  Christie."  Well, 
Bill  darling,  if  you  really  want  me — I  was  going  to 
Europe — still — ' 

"I  wanted  her  all  right — and  look  what  happened." 

Rumor  hath  it  that  she  has  stolen  "The  Swan" 
(now  called  "One  Romantic  Night")  from  Lillian  Gish. 
Greatest  of  all,  in  a  part  that  ended  early  in  the  pic- 
ture, she  ran  a  neck  and  neck  finish  with  Garbo  in 
"Anna  Christie."  If  she'd  had  another  reel  it  would 
have  been  just  too  bad.  I  know  the  thing  I  remember 
best  in  that  picture  is  Marie  Dressier. 

Why? 

THERE  are  two  reasons,  I  think,  for  Marie  Dress- 
ler's  power  to  dominate  scenes  and  pictures. 

First,  she  has  a  tremendous  personality,  vibrant 
with  fascination,  with  sheer  humanity.  In  every  little 
moment,  in  every  big  scene,  she  is  so  human  that  she 
stirs  the  memory-mind  of  each  individual  in  the  audi- 
ence. Her  comedy  and  her  pathos  are  part  of  her 
and  they  are  expressions  of  the  comedy  and  pathos  in 
our  own  lives. 

Second,  she  has  had  forty  years  on  the  stage,  at 
everything  from  chorus  girl  to  star. 

Give  anyone  a  fine  natural  gift  and  forty  years  in 
which  to  perfect  the  tools  to  carry  on  that  gift  and 
you  have  something  so  deep  and  mellow  and  powerful 
that  youth  itself  must  fall  before  it. 

Into  her  work  Marie  Dressier  pours  all  that  she  is 
as  a  woman,  and  her  long  experience  of  dramatic  tech- 
nique projects  her  wide  understanding  of  life  right 
out  of  the  screen  and  into  the  very  heart  of  a  crowd 
always  hungry  for  the  tears  that  are  close  to  laughter 
and  the  laughter  that  is  close  to  tears. 

And  as  a  woman  Marie  Dressier  is — let  me  see — 


No  woman  wants  to  be  a  comic.  Marie  Dressier  never 
wanted  to  be  a  comedienne.  She  has  always  longed 
to  do  big  dramatic  roles.  Then  —  close  to  sixty — her 
dream  came  true  with  the  role  af  Marthy  in  "Anna 
Christie." 


she's — no,  there  is  no  one  phrase,  no  short  sentence 
that  can  contain  her.  As  well  try  to  describe  the 
state  of  California  in  a  few  words. 

She's  ornery — just  plain  ornery.  She's  magnificent 
in  honesty  and  generosity.  She's  a  veritable  up- 
heaval of  emotion.  Her  heart  is  as  big  as  the  Grand 
Canyon,  but  her  mind  is  keen  and  shrewd,  quite  capa- 
ble of  looking  out  for  Marie  Dressier  and  her  inter- 
ests. Her  vocabulary  contains  more  superlatives  than 
any  other  in  Hollywood.  Her  likes  and  dislikes  are 
as  positive  as  Mussolini's.  She  is  afraid  of  nothing 
and  nobody — in  fact  she  is  one  of  the  few  people  in 
this  business  who  seem  free  of  the  fear  complex  in 
some  form  or  another.  Approaching  sixty,  her  vital- 
ity and  interest  in  life  would  shame  sixteen. 

Altogether,  she  is  a  grand  person. 

TAKE  Marie  in  a  bridge  game.  She  adores  bridge 
and  plays  an  amazing  game. 

But  the  excitement!  The  tenseness!  The  battle 
of  it! 

You  sit  down  at  a  bridge  table  with  Marie.  She 
scoops  up  her  cards  and  without  deigning  to  give  them 
a  glance,  bids  one  no  trump.  If  her  partner  fails  to 
bid  at  any  time,  she  is  seriously  annoyed.  "You've 
got  thirteen  cards,  haven't  you?"  she  says.  Having 
over-bid  recklessly,  she  then     {Continued  on  page  122) 

33 


Left  to  right,  Dolores  Costello,  Colleen  Moore,  Lila  Lee  and  Fay  Wray — all  owners 

of  retrousse  noses.     The   retrousse   indicates   pliability  to   direction,   love  of  the 

beautiful,  an   emotional   rather  than   a   reasoning    quality,  and   a   capacity  for 

memory.     Also  a  large  love  nature.     The  retrousse  has  its  drawbacks,  too. 

WON  by  a  NOSE 


WON  by  a  nose!  How  often  one  hears  that 
expression  to  describe  a  close  race.  Then 
there  is  the  story  the  colored  comedians  al- 
ways tell  about  the  horse  that  stuck  out  his 
tongue  and  won  the  race.  Modify  this  story  a  little 
and  you  have  a  true  story.  The  girls  in  Hollywood 
tip-tilt  a  perky  nose,  languidly  lift  the  upper  lip  a 
trifle,  and  they  win  a  race,  too — the  race  for  fame 
and  fortune.  It  is  amazing  when  one  considers  the 
number  of  retrousse  noses,  often  accompanied  by  a 
short  upper  lip,  that  there  are  among  the  very  suc- 
cessful stars  in  Hollywood. 

The   saucy   tip-tilted   nose   was   much   preferred   by 


SMALL  DEFENCE: 


^^i  Medium  Attention 
i  i  large  observation 

Little  intuition 
Small  reason 

laudation 


DOLORES  COSTELLO 


gentlemen  in  the  days  before  Anita  let  loose  her  flood 
of  propaganda  about  gentlemen  preferring  blondes. 
Anyone  can  be  a  blonde;  but  a  nose  is  different.  Any- 
way, in  those  halcyon  days,  a  group  of  directors  set 
up  a  vogue  for  the  retrousse  nose  and  the  short  upper 
lip.  No  actress  lacking  these  two  characteristics  was 
considered  to  conform  to  Hollywood's  standard  of 
beauty.  Interestingly  enough,  the  retrousse  nose  and 
the  short  upper  lip  often  go  together. 

The  days  are  past  when  the  type  of  nose  and  lip 
determines  a  girl's  eligibility  for  pictures.  There  are, 
of  course,  many  very  successful  actresses  who  do  not 
possess  a  retrousse  nose;  the  really  astonishing  thing 
is  the  number  who  do.  A  list  of  thirty  names,  drawn 
from  the  actresses  of  prominence  in  Hollywood,  shows 
retrousse  noses,  many  with  the  short  upper  lip. 

A  suspicion  is  bound  to  dawn  in  anybody's  mind 
that  the  preponderance  of  retrousse  noses  might  have 
some  explanation.  It  can  not  be  explained  by  the  old 
cult  for  retrousse  noses,  for  many  of  the  retrousse 
noses  of  famous  stars  would  never  be  considered  beau- 
tiful. This  is  so  true,  and  so  much  realized  by  some 
of  them,  that  it  is  almost  impossible  to  get  a  profile 
picture  showing  the  retrousse  unadorned.  When  some 
of  these  stars  do  consent  to  pose  in  profile,  the  result 
is  so  much  touched  up,  or  foreshortened  by  the  camera- 
man's craft,  that  it  is  a  little  difficult  to  recognize  the 
profile  of  the  star  concerned.  Colleen  Moore, 
Betty  Compson,  Jetta  Goudal  and  Mae  Murray  never 
have  had  profile  pictures  made. 

A  few  are  brave  enough  to 
challenge  critics  and  say,  "Here's 
my  nose!  Take  it  or  leave  it,  ad- 
mire it  or  criticize  it,  but  it  is 
my  nose!"  Among  these  are 
Gloria  Swanson,  Lillian  Gish,  Euth 
Chatterton  and  Dolores  Costello, 
the  four  most  distinguished  re- 
trousses  of  pictures.  None  can 
deny  their  beauty  and  talent. 

Aristotle,  who  lived  before 
they  had  motion  pictures,  was  the 


Dolores  Costello's  face 
charted  in  detail.  Miss 
Costello's  nose  belongs  to 
the  between  type,  not  very 
long  and  not  very  short, 
with  broad  upturned  tip. 
This  type  are  not  possessed 
of  inspiration,  as  are  their 
longer  nosed  sisters. 


34 


Reading   across:     Lupe  Velez,  Laura  La  Plante,  Betty  Bronson  and  the  glorious 

retrousse,   Gloria   Swanson.     Miss  Swanson  has  the  long  pointed  retrousse  that 

marks  the  most  distinguished  actresses.     This  indicates  the  ultimate  in  inspiration 

and  intuition.     No  great  actress  can  be  without  this  type  of  nose. 


The  Retrousse  Is  the  Actress  Nose  and  All  the  Big  Stars 
of  Hollywood  Possess  Concave  Nasal  Profiles 

BY   ROSALIND    SHAFFER 


first  phrenologist,  the  first  man  to  associate  character 
traits  with  the  features.  Many  thinkers  since  Aristotle 
have  said  that  the  features  indicate  one's  real  character. 

JUST  what  is  a  retrousse  nose?  A  true  retrousse  nose 
is  one  which  has  a  concave  outline  from  its  tip  to  its 
base  between  the  eyes.  It  may  be  slightly  concave,  or 
it  may  be  very  concave,  its  tip  may  be  pointed  or  blunt, 
it  may  be  slightly  bumpy,  or  of  a  quite  clean-cut  curved 
outline.  Looking  at  it  from  the  front,  it  may  be  wide 
all  down  the  face,  or  it  may  be  narrow.  It  may  have 
narrow  nostrils  or  wide  ones.  But  it  is  a  retrousse 
nose  if  the  profile  shows  its  outline  to  be  concave. 

Retrousse  noses  group  themselves  generally  into  three 
classes,  the  long,  slightly  pointed  retrousse  of  Gish, 
Swanson,  Chatterton,  Barbara  LaMarr,  Pauline  Freder- 
ick, Louise  Dresser  and  Joan  Crawford ;  the  rounded 
tipped,  slightly  shorter  nose  of  Costello,  Vivian  Duncan 
and  Clara  Bow;  and  the  shortest  tip-tilted  retrousse  of 
Anita  Page,  Nancy  Carroll,  Jetta  Goudal  and  Renee 
Adoree. 

Before  we  get  down  to  sticking  pins  in  these  gor- 
geous butterflies,  and  putting  them  in  separate  boxes, 
it  will  be  in  order  to  sit  awhile  in  the  sunshine  and 
observe  the  glorious  lepidoptera  in  a  general  way. 

Don't  laugh  when  I  tell  you  that  a  girl  with  a  re- 
trousse nose  has  no  strong  will.  When  Aristotle  tucked 
up  his  toga  and  waded  into  this  subject  way  back  in 
the  days  before  the  Gish  Sisters  were  discovered,  he 
noticed  that  there  are  three  places  along  the  bridge  of  a 
girl's  nose  that  are  either  promi- 
nent, so  as  to  form  the  arc  of  the 
Roman  nose,  or  lacking,  so  as  to 
produce  our  concave  nose,  the 
retrousse.  After  watching  the 
gals  in  the  forum  and  out,  he  no- 
ticed that  the  ones  with  the 
Roman  noses  said  "No"  quite  by 
instinct,  and  usually  remained 
old  maids,  while  the  girls  with 
the  retrousse  said  "Yes"  after 
more   or  less   arguing,   according 


to  how  retrousse  the  nose  under  consideration  was. 
Getting  serious,  the  three  points  mentioned  are  re- 
ferred to  by  the  phrenologists  as  aggression,  protection 
and  self-defense.  (See  the  facial  map  on  page  36.) 
They  all  group  under  defense. 

ANALYZING  these  three  points  separately  is  neces- 
sary, for  often  a  girl  will  have  a  slight  hump  at 
one  of  the  three  spots,  on  an  otherwise  concave  nose. 
That  means  that  she  has  exactly  what  that  hump 
stands  for,  though  she  may  not  have  the  other  two  of 
the  three  points  under  defense. 

The    point    coming    first    after    the     root    of    the 


Gloria  Swanson's  famous 
profile  charted  in  detail. 
The  long  septu,  or  nose 
bone,  means  the  possession 
of  inspiration.  Lillian 
Gish,  Pauline  Frederick 
and  Barbara  La  Marr  be- 
long to  this  interesting 
retrousse   class. 


Attention     V 

INQUISITIVENESS 


Laudation 


GLORIA  SWANSON 


35 


READ  YOUR  REAL  INNER  CHARACTER  IN  YOUR  NOSE 


nose,  the  first  possible  eleva- 
tion after  the  dent  where  the 
eye  fits  into  the  profile,  is  the  point 
of  aggression.  This  point  deter- 
mines the  practical  business  ability 
of  the  person.  People  with  no 
elevation  at  this  spot  are  poor 
business  people.  Retrousses  are 
of  the  creative  type,  interested 
primarily  in  emotion,  and  practical 
affairs  mean  little  to  them.  It  is 
certainly  well  known  and  accepted 
that  few  stars  are  good  business 
women.  Only  recently  Gloria 
Swanson  has  put  her  affairs  into 
the  hands  of  a  manager  who  in- 
vests her  money  and  pays  her 
bills;  this  after  years  of  making 
enormous  money. 

Lillian  Gish  could  be  expected 
to  be  as  foolish  financially  as 
Swanson,  if  it  were  not  that  her 
nose  shows  such  a  pronounced  de- 
pression at  the  base,  right  at  the 
eye  depression  before  it  joins  the 
bulge  of  the  forehead.  This  depres- 
sion, which  shows  a  capacity  for 
deep  thought  and  analysis,  counter- 
acts the  bad  sign  of  no  aggression 
shown  in  the  contour  of  her  delicately  retrousse  nose. 

Jetta  Goudal  also  has  this  depression,  which  proved 
itself  in  the  way  she  sued  and  collected  from  Cecil  De 
Mille  for  a  broken  contract.  Miss  Goudal  may  be  seen 
in  the  markets  selecting  her  own  vegetables.  No  one 
will  fool  her  about  money,  in  spite  of  her  retrousse  with 
its  lack  of  aggressiveness. 

Clara  Bow,  another  unwise  person  about  saving  her 
money,  which  she  has  scattered  with  prodigal  and 
thoughtless  generosity  on  her  father  and  her  friends, 
is  an  improvident  retrousse.  Betty  Bronson  is  still  an- 
other who  did  little  saving  and  haymaking  while  the 
movie  sun  shone. 

Louise  Dresser  lost  a  very  sizable  sum  in  an  unwise 
investment  a  couple  of  years  ago.  A  retrousse,  she  was 
rather  easily  victimized  and  did  not  investigate  all  the 
ramifications  of  the  deal  in  which  she  was  "taken" 
for  a  small  fortune. 

Barbara  LaMarr  was  continually  enmeshed  in  debt 
and  was  most  unwise  and  incapable  in  business  affairs. 
Her  death  found  little  but  debts  at  the  end  of  a  bril- 
liant  career,    instead   of   the   possible   sizable    fortune. 

Mrs.  Lucille  Webster  Glea- 
son  found  herself  so  unable  to 
cope  with  the  stream  of  gold 
coming  into  the  Gleason 
coffers  from  her  husband 
Jim  and  her  son  Russell,  as 
well  as  herself,  that  she,  too, 
has  acquired  a  manager. 

Mabel  Normand,  realizing 
her  incapabilities  to  manage 
money,  selected  a  business 
manager  long  before  her 
death  and  invested  her  money 
through  him  so  that  she  was 
independently  wealthy. 

Madge  Bellamy,  another 
charming  retrousse,  found 
herself  with  a  forty-room 
mansion,  full  of  expensive 
furnishings,  when  her  dis- 
agreement at  the  Fox  Studios 
left  her  with  an  uncertain 
income.  The  retrousse  is  a 
menace ! 

Joan  Crawford  found  that 
she  and  her  husband,  Douglas 


Lillian  Gish  might  easily  be  a  spend- 
thrift. But  she  is  saved  by  a  pronounced 
depression  at  the  base  of  her  nose. 
This  shows  a  capacity  for  deep  thought 
and  analysis. 


AGGRE'5'3lON 


PROTECTION 


DEFENSE 


Fairbanks,  Jr.,  had  overreached 
themselves  in  expenses.  They  sold 
their  house  and  have  gone  into  an 
apartment.  The  retrousse  pur- 
sues them  still. 

On  the  other  hand,  look  at  Bebe 
Daniels,  with  her  Roman  nose; 
everything  Bebe  touches  turns  to 
money.  Witness  the  four  beach 
houses  she  recently  built  and  fur- 
nished, and  sold  for  a  profit.  Mary 
Pickford,  acknowledged  by  every- 
one to  be  a  competent  financier, 
shows  this  bump. 

AUTHORITIES  on  phrenology 
•have  something  interesting  to 
say  about  the  reason  this  particu- 
lar spot  on  the  nose  represents 
aggression.  They  declare  that  no 
baby  is  born  with  an  arched  nose. 
The  breathing  of  an  individual,  be 
it  forceful  or  weak,  according  to 
the  basic  character,  develops  or 
does  not  develop  the  arch  in  the 
nose  by  reason  of  the  very  force  or 
lack  of  force  with  which  the  breath 
is  expelled.  This  particular  spot 
is  hit  by  the  volume  of  air  as  it 
enters  and  leaves  the  lungs  through  the  nose.  Inci- 
dentally, for  this  same  reason,  women  with  a  retrousse 
nose   are   subject  to   pulmonary   disorders. 

The  retrousse  is  most  impressionable,  and  is  fre- 
quently much  influenced  by  surroundings  and  compan- 
ions. Lovers  of  pleasure,  it  is  hard  for  them  to  stand 
alone  and  fight  the  big  fight  if  surrounded  by  undesir- 
able companions.  It  was  the  surrounding  circumstances 
and  friends  of  Barbara  LaMarr  and  Mabel  Normand 
that  cut  short  two  brilliant  careers. 

The  second  bump  represents  a  person's  ability  to 
retain  mental  integrity  against  all  suggestion  from  out- 
side. It  is  named  Protection.  No  actress  with  this 
bump,  unless  this  trait  is  denied  elsewhere  in  her  fea- 
tures, can  succeed,  because  she  would  be  impervious  to 
direction  and  could  not  lend  herself  to  interpreting 
a  role.  She  could  not  be  pliable  and  adaptable  in  inter- 
preting a  characterization  foreign  to  her  own  char- 
acter. Pliability  and  adaptability,  the  power  to  project 
self  into  any  character  or  role,  is  the  gift  of  the 
retrousse,  which  lacks  the  bump  of  Protection. 

The  gift  of  mimicry  is  closely  allied  with  this  spot  on 
the  nose,  for  the  reasons 
above  given.  It  is  certainly  a 
very  important  thing  to  an 
actress. 

Generosity,  too,  is  signified 
by  lack  of  this  bump.  Car- 
ried to  extremes,  it  represents 
prodigality,  as  does  the  first. 
Certainly  generosity  is  a  trait 
of  all  actors. 

The    third    of    our    trio    of 
bumps    is     named     Self     De- 
fense.     Lacking     in    aggres- 
(Continued  on  page  126) 


The  three  nasal  bumps  shown  in 
detail.  The  point  of  aggres- 
sion indicates  business  ability. 
Protection  represents  one's 
ability  to  retain  mental  integrity 
against  outside  influence.  Self 
defense  indicates  ability  to 
fight  off  aggression. 


36 


LAUGHS  OF  THE  FILMS 


What  do  you  consider  the  funniest  talkie  joke  of  the  month?  THE  NEW  MOVIE  will  pay  $5  for  the  best 
written  letter  relating  the  best  talkie  joke.  If  two  or  more  letters  prove  of  equal  merit,  $5  will  go  to  each 
writer.     Address  your  jokes  to  Laughs  of  the  Films,  THE  NEW  MOVIE,  55   Fifth  Avenue,  New  York  City. 


37 


/ 


The  Hemline  Came  Down 

and  Sounded  the  Death 

Knell  of  the  Who-Cares 

Flapper 

BY  DOROTHY  HERZOG 


HAS  anybody  here  seen  a  flapper? 
I  doubt  it.     There  isn't  a  flap  the  length 
and  breadth  of  Hollywood  Boulevard.    Nor 
is  one  left  on  the  studio  census  roll.     The 
original  Clara  Bows,  Alice  Whites,  Colleen  Moores, 
have  set  with  the  fashion  sun  of  1929.    They  are 
today's  ash  to  yesterday's  flame  of  youth. 

Even  the  choruses  in  musical  comedy  pictures 
no  longer  flap,  and  there  were  the  ideal  whoopers : 
petite,    slight,    totally    unconscious   of   display   as 
they  strolled  around  the  lots  in  "shorts"  or  thimble 
attire.    But  they  no  longer  flap.    They  are  serious- 
minded    young    girls.        A     flapper    camouflaged 
her  seriousness  under  a  wild  oat. 
Modistes    claim    to    know    the    answer   to    the 
abrupt    change    in    feminine    temperaments. 
Nothing    more    or    less    than    long    skirts. 
Clothes,  they  contend,  motivate  personali- 
ties.    In  a  skirt  to  her  knees  a  girl  flits 
and   flaunts.     In  one  below  her  knees, 
she  does  neither.   That  hemline  quiets 
her. 

AS  a  matter  of  fact,  a  dreadful 
-thing  has  happened  to  Holly- 
wood.    It  has  gone  stylish  and 
ultra.     For  years,  the  little  cel- 
luloid center  did  what  it  pleased 
and  was  a  romantic  law  unto  it- 
self.     The    names    of    Barbara 
LaMarr,    Bebe    Daniels,    Gloria 
Swanson  and  Mary  Pickford  in 
the    old    days     symbolized    the 
reality  of  freedom.    Pictures  were 
in  their  infancy.    Coddling  clothes 
and  coddling  habits  could  be  care- 
less.     The   players    banded    into    a 
magic    circle.      The    outside    world's 
imagination   contributed  the   flow  and 
'  fascination. 

Along  came  Elinor  Glyn.     Her  slightest 

interest  in  an  actress  or  actor  scared  her 

or  him  into  alluring  print.    She  interpreted 

Hollywood  in  terms  of  love.     She  boiled  this 

down  to  two  words,  sex  appeal.     Later,  she 

coined  the  million-dollar  slogan,  "IT."     Aileen 

Pringle,  Jack  Gilbert,  Clara  Bow  and  Corinne 

Griffith  benefited.    Mrs.  Glyn  wrote  their  names 

in  celluloid  gold  by  singling  them  out  from  the 

many.      She    really 


The  flapper — with  her  un- 
ruly bob,  her  indifferent 
dress,  her  cynical  wise- 
cracking, her  rakish  in- 
dependence— took  the 
world  by  storm.  The  flap- 
per reigned — untila  meeting 
of  dress  designers  in  Paris 
last  Fall. 


started     the     modern 
girl  racketeering. 

But  it  was  Warner 
Fabian  who  gave  the 
sex-appeal  fad  its 
final  push  into  the 
spotlight.  He  did  this 
with  "Flaming 
Youth."  To  him, 
"Flaming    Youth" 


38 


HOLLYWOOD'S 


Successor 


to 


IT 


DRAWINGS  BY  RAY  VAN   BUREN 


behaved  as  she  pleased  with  a  verve  that  withstood 
the  shocked  criticism  of  her  horrified  elders. 

Colleen  Moore  brought  the  story  to  the  screen.  She 
launched  the  flapper. 

Clara  Bow  picked  up  the  cudgels,  and  Clara's  elec- 
trical efforts  took  the  youth  of  the  world  by  storm. 
She  came  to  represent  the  modern  girl  with  her  unruly 
bob,  her  indifferent  dress,  her  cynical  wise-cracking, 
her  rakish  independence. 

Because  of  her  tremendous 
popularity,  other  flappers 
spread  the  glad  message.  Joan 
Crawford's  name  reached  the 
lights.  Alice  White  rose  from 
the  ranks  in  one  lingerie.  Like- 
wise, Sally  O'Neil,  Sue  Carol, 
Laura  La  Plante.  Ruth  Taylor 
(the  Lorelei  of  "Gentlemen 
Prefer  Blondes")  failed  to 
make  good  because  she  didn't 
qualify  as  a  flapper.  Ruth — in 
front  of  the  camera — embodied 
more  the  shrewdness  of  the 
gold-digger.  A  flapper  never 
"gold-digged."  It  was  50-50 
with  her. 

THE  flapper  reigned  for  an 
extraordinarily  long  time. 
Until  last  fall,  in  Paris,  10,000 
miles  from  Hollywood,  a  group 
of  designers  ordained  the  long 
skirt  and  fastidiousness  in 
style.  That  sounded  the  death 
knell  for  the  who-cares  chil- 
dren. 

Naturally,    Hollywood    youth 
objected.     But   Hollywood  had 
reached    the    thoughtful    point 
already.      The   talkies   brought 
stage  players   from   Broadway 
by  the  trainload.     One  saw  the 
Park  Avenue  sleekness  of  Ann 
Harding,  Ina  Claire,  Constance 
Bennett,    Grace    Moore,    Alice 
Gentle,  Mrs.  Maurice 
Chevalier,  et  al.  Their 
well-groomed   appear- 
ances at  the  Embassy, 
the    Montmartre,    the 
Roosevelt,  the  Brown 
Derby    and    the    Am- 
bassador      prompted 
(Continued  on  p.  108) 


Hollywood  youth  is  becoming 
a  merger  of  several  types. 
Smartly  gowned,  mascara  eyes 
and  ruby  lips,  her  demureness 
will  be  in  quaint  contrast  with 
her  appearance.  Shewillbethe 
soft  pedal"  girl  of  tomorrow. 


40 


Th 


e 


Last  Days 
of 

Valentino 


How  the  Peasant  Boy  from 
South  Italy  became  the 
Caesar  of  a  Fantastic  Empire 
and  died  a  King  with  a 
Broken   Heart 


i 


BY   HERBERT  HOWE 

'M  sick  of  everything,"  he  said,  "sick  of  marriage, 

sick  of  the  ingratitude  of  friends,  sick  of  business 

and  Hollywood  pretense.  ...  I  want  just  to  have 

a  good  time,  to  live  a  little." 

Lusty  lover  of  life,  he  grasped  its  beakers  in  both 

hands  and  thirstily  drank.    It  was  as  though  the  astrol- 

ogists  had  predicted  his  death  three  months  hence. 

Actually  he  was  seeking  the  intoxication  of  life  in 
order  to  forget  it.    Perhaps  we  all  are. 

He  was  like  a  man  who,  having  drunk  too  much  the 
night  before,  awakens  with  a  head  and  drinks  again  in 
order  to  go  on. 

If  he  had  been  wholly  a  sensualist  he  might  have  suc- 
ceeded, but  Rudie  was  sentimental  and  idealistic  far 
beyond  the  realization  of  those  who  count  themselves 
idealists.    True  idealists  are  never  conscious  of  idealism. 


TN  those  last  days  of 
■*■  reckless  splendor  the 
legend  of  Valentino 
soared  to  a  crescendo 
that  echoed  Imperial 
Rome.  The  maze  of  for- 
tune through  which  the 
boy    had   stumbled    was 

The  public  struggled  so 
frantically  to  witness  the 
last  earthly  ceremonies 
over  the  body  of  its  idol 
that  these  cards  of  church 
admission  were  given  to 
his  friends.  Without  one 
of  these,  it  was  impossible 
to    pass   the    police    lines. 


§>nlpum  Spquirm  ii^igl)  Maaa 

toill  lip  rdrbratpfc  in  tl;e 

(Eljurrlj  of  tljp  (Boob  i'ljpjihprb 

Spuprljj  trills 

fur  tlje  rpjioflr  of  u>  soul  of 

JSuJlrilplj  lalpntinn 

on  ulupauau,  morning,  §>rptr  mbrr  arurnth. 

at  trn  o'rlork 


An  unpublished  picture  of  Rudolph  Valentino  in  medieval 

armor.     This   portrait  was   given   to   his   friend,   Manuel 

Reachi,  in  Rudie's  early  Hollywood  days  of  1919.     It  was 

signed  Rodolfo  di  Valentino. 

as  fantastic,  as  monstrous  and  incredible  as  the  mad 
purple  scenes  in  which  a  dancer,  a  gladiator,  a  common 

soldier,  one  after  an- 
other, was  capriciously 
cast  upon  the  throne  of 
Rome  to  be  denied,  wor- 
shiped, then  slain  or 
driven  to  suicide. 

Rudie  was  the  sym- 
bol of  Southern  Italy. 
He  was  the  product  of 
its  sun  and  earth.  When 
I  think  of  him  I  think 
of  Apulia,  out  of  which 
he  came.  In  Apulia 
everyone  fears  the  Evil 
Eye.  They  make  the 
sign  of  the  horn  with 
their  fingers  to  protect 
themselves  against  it. 
In  Apulia,  if  the  facts 
were  known,  it  would  be 


41 


HERB  HOWE  tells  how  VALENTINO'S  Last  Mad  Days 


This  was  one  of  Rudie's  favorite  pictures.    It  was  made  just  after  his  marriage 
to  Natacha  Rambova  and  was  taken  at  their  Whitley  Heights  home. 


said  that  Rodolpho  Guglielmi,  son  of  the  respected 
horse  doctor  of  Castellenata,  was  victim  of  the  Evil 
Eye.     I  shall  not  dispute  them. 

He  came  a  peasant  boy  out  of  Italy,  out  of  the  heel 
of  Italy,  where  poverty  is  abject,  counted  in  tattered  lire. 
Yet  the  people  have  in  their  blood  the  sun  that  ripens 
the  grape,  and  with  its  blood  they  salute  one  another, 
touching  glasses  when  the  sun  dies  and  work  is  done. 

He  came  out  of  the  poverty  of  Apulia  into  the  wealth 
of  Hollywood.  His  name  was  trumpeted  through  the 
world,  i-everberating  further  than  any  Caesar's.  It 
might  be  said  of  him  as  of  the  Emperor  Hadrian,  "The 
world  rose  to  him  as  a  woman  greets  a  lover." 

Fortune  prostrated  herself  before  him,  offering  an 
estate,  motor  cars,  a  yacht,  jewels,  ivories,  works  of  art 
and  all  the  luxuries  of  an  emperor.  The  whole  world 
was  his  realm.  No  urchin  ever  dreamed  such  a  fabulous 
dream  as  was  given  the  peasant  Rodolpho  Guglielmi. 

VV^HEN  he  returned  in  1925  to  Europe,  which  he  had 
"  left  an  emigrant  a  few  years  previous,  it  was  on 
a  triumphal  tour  costing  a  hundred  thousand  dollars. 
In  Paris  he  received  grand  dukes  and  princesses,  artists 
and  diplomats.  The  peasant  of  Italy,  who  once  was  pun- 
ished for  running  away  from  school  in  Perugia  to  see 
his  king  pass  by,  was  himself  a  greater  king,  the  whole 
world  turning  out  to  see  him  pass. 

And  like  a  king  he  died  in  the  abject  poverty  of  spent 

42 


illusions  and  with  a  broken  heart. 

"My  life  has  been  all  up  and 
down,"  he  said  to  me  one  day  in 
his  New  York  apartment,  adding 
fatalistically,  "I  expect  to  die  in 
the  gutter." 

The  gutter  he  anticipated  was 
poverty.     Actually  it  was  worse. 

Rodolpho,  the  genial,  generous, 
simpatico  peasant,  son  of  a  horse 
doctor,  was  cast  for  the  brilliant 
role  of  irony  in  life.  At  the  height 
of  his  fame,  the  world  kissing  his 
hand,  he  could  not  forget  the  three 
days  he  spent  in  the  Tombs  prison 
of  New  York  on  a  false  charge. 
Pathetically  he  showed  me  clip- 
pings from  newspapers  retracting 
the  libel.  The  retraction  was  small 
compared  to  the  headlines  that 
had  damned  him.  He  told  me  how 
he  had  been  framed  when  he  was 
the  dancing  partner  of  Joan  Saw- 
yer.    I  know  he  told  me  the  truth. 

WHEN  I  talked  with  him  in 
»»  New  York  he  and  his  wife, 
Natacha,  were  living  on  borrowed 
money,  yet  he  was  world  famous. 
He  had  quarreled  with  the  Para- 
mount Company.  Only  that  day 
he  had  refused  Adolph  Zukor's 
offer  of  $750,000  a  year  to  return 
to  work  because  he  felt,  on  Na- 
tacha's  advice,  that  the  company 
had  no  artistic  capacity.  He 
wanted  to  be  an  aristocrat  of  the 
arts.  He  would  have  liked  even 
more  to  have  been  a  patron  of 
them,  a  Lorenzo  the  Magnificent. 
He  dreamed  as  a  boy  of  being  a 
great  medieval  prince.  That  ex- 
plains his  taking  of  the  name  "di 
Valentina"  from  the  Borgias. 

Without  the  benefit  of  culture 
other  than  Italy  offers  its  hum- 
blest, which  is  perhaps  equal  to 
what  America  gives  its  highest,  he 
had  a  pathetic  eagerness  to  under- 
stand and  appreciate  the  arts.  This  passionate  desire 
drew  him  to  the  superior  mind  of  Natacha  Rambova. 
An  American  girl,  Winifred  O'Shaughnessy,  she  had 
taken  the  Russian  name  to  quicken  her  artistic  recog- 
nition. Rudie  adored  her.  He  worshiped  her  as  a  god- 
dess. Valentino,  the  idol  of  millions  of  women,  idolized 
one  woman  and  she  did  not  love  him,  or  so  he  believed. 
If  Rudie  had  answered  the  cablegram  which  Natacha, 
then  his  ex-wife,  sent  him  in  Paris  on  his  last  Christmas 
he  might  be  alive  today.  Hope  might  have  stemmed 
his  headlong  recklessness,  but  hope  was  impossible. 

He  wanted  to  answer  that  cable.  Discreetly  worded, 
it  offered  an  opening  to  reconciliation.  Forgetting  a 
banquet  awaiting  him,  he  sat  down  at  the  desk  in  the 
damask  paneled  room  of  his  hotel  and  wrote  a  dozen 
replies,  then  one  after  another  threw  them  in  the  open 
fire.  His  heart  dictated,  his  pride  prevented.  Perhaps  I 
should  say  his  reason.  His  heart  had  dictated  forgive- 
ness before,  when  he  felt  she  did  not  love  him.  Prof- 
fered everything  in  the  world  save  one  thing  he  de- 
sired and  that  was  denied  him ! 

TN  Hollywood,  when  Rudie  and  Natacha  agreed  after 
*  many  trials  that  divorce  was  the  only  solution,  he 
accompanied  her  to  the  train  and  kissed  her  good-bye. 
From  the  station  he  went  to  the  home  of  Manuel  Reachi. 
Manuel  was  his  first  friend  in  Hollywood.  Their  friend- 
ship had  ended  when  Manuel  urged  him  to  accept  Mr. 


of    Reckless    Splendor    Echoed    Imperial    ROME 


Zukor's  offer  in  opposition  to  Na- 
tacha's  counsel.  When  the  servant 
announced  that  Mr.  Valentino  was 
downstairs,  Manuel  thought  it  some 
practical  joke. 

"Who  is  there?"  he  called. 

"I,  Rodolpho,  Manuel." 

"What  do  you  want?" 

"Natacha  has   gone." 

"Well,  what  has  that  to  do  with  me?" 

"Well — I  had  no  place  to  go,  so  I 
came  to  you,  my  friend." 

Manuel,  Mexican,  with  the  sensi- 
tiveness of  the  Latin,  rushed  down- 
stairs and  embraced  his  friend. 

When  I  collaborated  with  Rudie  on 
his  life  story  he  spoke  of  Manuel. 

"He  was  my  first  friend  in  Holly- 
wood," he  said.  "He  loaned  me  money 
and  gave  me  his  Rolls-Royce  for  visit- 
ing studios  looking  for  work.  He  was 
Mexican  vice-consul  in  Los  Angeles. 
When  the  Mexican  government  ordered 
a  speed  boat,  Manuel  allowed  me  to  act 
as  his  agent.  When  the  lowest  bid  had 
been  determined  I  was  able  to  get  a 
commission  of  two  hundred  and  fifty 
dollars  for  completing  the  transaction. 
It  was  a  life  saver  for  me." 

MANUEL  told  me  of  meeting  Ru- 
die. It  was  in  New  York,  when 
Valentino  was  simply  Rodolpho,  the 
dancing  partner  of  Bonnie  Glass. 
Manuel,  commercial  agent  for  the 
Mexican  government,  visited  the  cafe 
one  evening  and  was  impressed  by  the 
Spanish  tango  which  Rudie  did.  He 
applauded  and  invited  Rudie  to  the 
table  for  a  drink. 

"The  management  does  not  permit 
me  to  sit  with  guests,"  said  Rudie. 

Manuel  arrogantly  summoned  the 
manager.  The  manager  unctuously 
permitted  the  humble  dancer  to  sit  with 
the  Mexican  diplomat  and  his  guests. 
Two  years  later  Manuel  was  appointed 
vice-consul  to  Los  Angeles.  Entering 
the  Alexandria  Hotel,  he  saw  one 
familiar  face.  It  was  that  of  Rodolpho, 
the  dancer.  "Hello,"  said  Manuel,  shaking  hands  with 
the    boy. 

Rudie  was  living  in  a  garret  room.  Two  months' 
rent  was  due.  The  landlady  decided  to  throw  him  out. 
Manuel  said,  "Come  live  with  me.  There  is  plenty  of 
room  in  my  house." 


In  the  days  when  Pola  Negri  was  pre-eminent  in  Rudie's  heart.    This  picture 

was  taken  at  a  costume  ball  of  the  Sixty  Club  at  the  Hotel  Ambassador  in 

Los  Angeles.    It  shows  Rudie,  Manuel  Reachi  and  Miss  Negri. 


Two  years  later  Rudie  appeared  in  "The  Four 
Horsemen  of  the  Apocalypse"  and  excited  adulation 
without  comparison  in  our  generation. 

The   best   indication   of   Valentino's   nature  was  his 

undying  appreciation   of  Manuel's  friendship.      When 

lonely,  disillusioned  and  eager  for  "just  a  good  little 

time,"    his    thoughts    turned    to    his    first 

friend  in  Hollywood.     He  asked  Manuel  to 

accompany  him  to  Europe. 

I  met  them  in  Paris.  Manuel  was  ex- 
hausted in  his  effort  to  keep  pace  with 
Rudie  and  his  whims. 

"The  boy  is  mad," 
he  said.  "He  thinks 
only  of  Natacha. 
For  two  days  on  the 
boat  he  talked  of 
nothing  but  hei\  He 
goes  on  an  endless 
round  of  parties 
which  I'm  sure  he 
doesn't  enjoy." 

Rudie  slept  only 
two  hours  a  night 
during  twenty-two 
days  in  Paris.  As 
(Cont   on  page  128) 


Two  weeks  after  he  re- 
turned from  Europe, 
Valentino  narrowly 
escaped  death  when 
he  almost  ran  into  the 
path  of  a  train.  His 
car  hit  a  post  and 
swerved  around,  graz- 
ing the  locomotive. 
Rudie  jumped  out  and 
snapped  this  picture 
of   the    scene   himself. 


43 


Hubert  P.  Vallee,  otherwise  Rudy  Vallee.  Rudy  is  a  native  Vermonter. 
His  father  is  of  French-Canadian  extraction  and  his  mother  of  English- 
Irish  parentage.    The  Vallees  moved  to  Westbrook,  Maine,  when  Rudy 

was  six  years  old. 


A  LWAYS  myriads  of  people  have  milled  and  swarmed 
/\  around  the  great  gods  of  Fate  and  Luck,  tossing 
J  \  bright  coins  called  careers  into  the  laps  of  these 
strange  controllers  of  destinies.  Sometimes  the 
gods  have  exchanged  the  coins  for  fame — that  phantom 
many  men  seek  but  few  capture.  No  matter  how  fleet- 
ing the  life  of  this  wraith,  those  who  have  beheld  it  are 
in  the  public's  eye — sometimes  as  subjects  of  conjecture, 
other  times  of  fascination,  but  always  themes  for  dis- 
cussion. 

One  who  has  captured  the  phantom  of  fame  is 
Rudy  Vallee.     While  others  made  their  obei- 
sances  to  popular   gods   he   chose  a  less 
known  convey,  the  god  of  hard  work 
and   protector  of  one's   own   convic- 
tions.    Strangely,  Rudy's  success  is 
intangible — you  cannot  lay  a  fin- 
ger very  definitely  on  the  reason, 
although  he  gives  supply  to  the 
demands  of  the  public. 

TAILED    away    in    a    certain 
"  newspaper  office  is  an  en- 
velope containing  all  the  clip- 
pings   on   Vallee,    Hubert   P. 
(Rudy),    Musician.      To    this 
might  be  added,  dreamer,  hard 
worker,  author,  motion  picture 
actor,  and  matinee  idol.  Though 
you  say  there  are  thousands  of 
envelopes    that    show    the    same 
specifications  for  thousands  of  oth 
er  men,  this  story  is  only  about  Rudy. 
No  one  knows  when  this  thing  called 
fame  will   disappear,   certainly   there   is 
no  one  living  who  can  gauge  its  elusive  qual- 

44 


How  Rudy  Vallee,  the 
Idol  of  the  Air,  Went 
Out  to  Seek  Success 
from  the  little  town  of 
Westbrook,  Maine 


ity  until  the  person  who  earned  it  has  gone 
forever.  But  one  can  write  about  its  attain- 
ment. 

Rudy  Vallee  roosts  on  the  pinnacle  today. 
He  used  to  sweep  peanut  shells  out  of  a  the- 
ater in  Westbrook,  Maine.  Now  he's  one  of 
the  highest  paid  radio  stars  in  America.  He 
used  to  lead  a  college  band.  Now  he  owns 
his  own  New  York  night  club. 

A  native  Vermonter,  born  in  Island  Point, 
son  of  Mr.  and  Mrs.  Charles  A.  Vallee,  the 
father  of  French-Canadian  extraction  and 
the  mother  of  English-Irish  parentage,  he 
was  six  years  old  when  Mr.  Vallee  moved  to 
Westbrook  and  opened  a  drug  store.  Rudy 
and  his  brother  worked  in  the  drug  store  but 
Rudy  soon  broke  away  and  got  a  job  project- 
ing motion  pictures  in  the  Star  Theater.  He 
used  to  sleep  in  box  cars  to  escape  the  wrath 
of  his  father  caused  by  playing  the  saxophone. 
Then,  too,  he  rode  a  bicycle  back  and  forth 
from  Portland  to  save  15  cents  carfare.  Mrs. 
Vallee,  a  gentle-voiced  woman,  was  torn  be- 
tween fostering  her  son's  ambition  and  loy- 
alty to  her  husband's  desire  for  Rudy  to  be- 
come a  druggist.  Lean,  discouraging  years 
for  the  boy.  He  haunted  the  bigger  play 
houses  in  Portland,  absorbing  back  stage  at- 
mosphere and  listening  to  the  musicians  who 
were  always  stumbling  over  "that  kid."  But  there  are 
always  compensations  in  life  and  Rudy  found  a  solace 
in  the  mutual  love  he  and  his  sister  had  for  music.  This 
mutual  bond  kept  them  close  together.  They  had  sim- 
ilar taste  in  music,  both  preferring  the  best  in  musical 
composition. 

'HPODAY,  the  sister,  Mrs.  Kathleen  Vallee  Lenneville, 
*■  of  Westbrook,  says  of  her  brother,  "he  very  kindly 
gives  me  credit  for  nurturing  a  love  of  the  best  in  musi- 
cal appreciation  in  him.  I  rather  think  we  both  inher- 
ited it  but  I  did  try  to  keep  at  his  music  with 
him  and  now  he  seems  to  appreciate  my 
effort  although  at  the  time,  I,  as  his  in- 
structor, can  assuf-e  you  that  I  had 
no  greater  apparent  success  accom- 
lishing  my  task  than  any   other 
young  sister  has  trying  to  boss  a 
situation  with  a  brother.     As  a 
matter  of  fact  I  will  not  hesi- 
tate in  saying  that  I  consider 
my  piano  teaching  efforts  in 
Hubert's    (she  always   refers 
to  Rudy  by  his  right  name) 
behalf  a  decided  failure,  but 
it    seems    that    we    both    got 
something   out   of   it   because 


Rudy's  pet  dog,  Barney,  espe- 
cially posed  for  New  Movie. 
Barney  resides  with  Rudy's  par- 
ents at  Westbrook,  far  from  the 
great  street  of  night  clubs. 


HOME  TOWN 

STORIES  of  the  STARS 


By 
PERDITA  HOUSTON 

of  The   Press   Herald, 
Portland,  Maine 

Vallee  Home  Town   Photographs 
Especially  Made  for  NEW  MOVIE 

our  real  musical  tastes  are  identical  to  this  day. 

"As  a  little  shaver,"  the  sister  continues,  "at 
home  Hubert  was  no  different  from  any  other  lit- 
tle fellow.  He  could  be  very,  very  good  and,  while 
never  very  bad,  had  his  off  moments  and  a  very 
decided  will  of  his  own."  This  strong  will  is  ex- 
pressed in  Rudy's  achievements  again  and  again 
— he  has  a  determination  of  iron  that  nothing  can 
melt  or  corrode. 

Being  a  sister  of  a  celebrity  sometimes  means 
great  anxieties,  according  to  Mrs.  Lenneville,  who 
was  greatly  upset  a  short  while  ago  when  she 
heard  over  the  radio  that  "Rudy  Vallee  was  more 
safely  guarded  than  the  President  of  the  United 
States  owing  to  threatening  letters  demanding 
$100,000  or  his  life." 

"This  has  been  an  entirely  unlooked  for  phase 
to  his  fame  and  one  that  is  decidedly  disquieting," 
the  sister  commented. 

TN  her  opinion,  the  old  adage  that  a  man  is  with- 
*■  out  glory  in  his  own  country  does  not  hold 
exactly  true  in  Rudy's  case.  It  has  come  to  her 
ears  again  and  again  that  Rudy  Vallee  has  lost 
his  head  and  is  very  high  hat.  This  she  strong- 
ly denies,  saying  that  the  boy  is  extremely  busy 
and  hasn't  a  minute  for  small  talk  but  is  loyal  to 
and  fond  of  every  single  person  that  he  ever  knew  in 
Westbrook  or  elsewhere. 

"As  a  whole,  his  home  town  has  been  fine  to  him,  so 
the  adverse  criticism  does  not  bother  him  or  us."  Mrs. 
Lenneville  told  an  inter- 
esting story  of  his  latest 
visit  home  several 
months  ago.  His  time 
was  limited  to  one  day's 
stay  only  and  he  arrived 
very  early  in  the  morn- 
ing. The  first  thing  he 
said  after  exchanging 
affectionate  greetings 
with  his  family  was,  "I 
want  to  have  just  one 
good  nap  in  my  own 
bed,"  and  he  did  just 
that.  His  room  at  home 
is  always  ready  for  him, 

The  Vallee  home  at  West- 
brook,  Maine.  Mrs.  Vallee, 
Rudy's  mother,  posed  in 
front  of  the  residence  with 
Barney.  Rudy's  room  is 
kept  ready  always,  await- 
ing his  home  visits. 


The  Vallee  drug  store  at  Westbrook,  Maine.     For  years  this 
was  owned  and  managed  by  Charles  A.  Vallee,  father  of  Rudy. 


exactly  the  same  as  when  he  lived  there  and  he  was  over- 
joyed at  the  chance  to  sleep  once  more  in  his  own  bed. 
A  younger  brother,  Bill  Vallee,  is  a  student  at  Ford- 
ham  and  will  later  enter  Yale.     Mr.  and   Mrs.  Vallee 

spend  most  of  their 
time  in  New  York  with 
Rudy  and  this  leaves 
Mrs.  Lenneville  the 
only  member  of  the 
family  in  Westbrook. 

Finally  Rudy  landed 
down  in  the  little  town 
of  Orono,  a  freshman 
in  Maine  University. 
He  carried  his  sax, 
tenderly,  much  to  the 
disgust  of  the  upper 
classmen  who  thought 
the  freshie  just  learn- 
ing to  play.  As  a  class- 
mate said  of  Rudy  at 
that  time,  he  was  shy, 
different  and  kept  in 
the  background.  But, 
in  spite  of  this,  he  was 
the  showman  of  the 
college.  He  dreamed. 
He  worked.  His  object 
(Cont'd  on  page  124) 

45 


The  Chortle  Comedy  Studio  was  in  a   mad  whirl  of  noise.    The  serious   business  of  being  funny  was 
Stage  B  sheltered  a  couple  of  comedians  setting  fire  to  a  sheriff's  whiskers,  while  in  the  third  enclosure 

A  FOOL  and  His 

The  Laughable  Yarn  of  a  Clown  who  Longed  to  be 
a  Combination  Hamlet  and  Romeo 


AS  all  the  world  knows,  the  boulevards  of  Los 
Angeles  are  positively  swarming  with  glossy- 
automobiles  which  function  perfectly  under  the 
guidance  of  carefree,  incredibly  handsome 
drivers.  At  least,  it  looks  that  way  in  the  tourist 
folders,  so  that  an  optimistic  Chamber  of  Commerce 
would  have  had  good  reason  to  feel  irritated  at  the 
sight  of  a  large  and  flabby  gentleman  abusing  a  de- 
crepit old  bus  on  the  fringes  of  Elysian  Park. 

Groaning  loudly,  this  traitor  was  tearing  off  the 
fenders,  after  which  he  lifted  the  radiator  cap  just  in 
time  to  have  a  rattlesnake  wriggle  forth,  a  sight  which 
caused  him  to  sit  down  heavily  upon  a  passing  piglet. 
Then,  egged  on  by  the  cries  of  a  pretty  redhead  in 
the  front  seat,  he  rushed  around  to  peer  into  the 
exhaust,  receiving  a  spray  of  soot  that  sent  him  into 
a  fit  of  the  juvenile  jumps,  ending  in  a  vicious  kick 
at  where  the  car's  kidneys  ought  to  be.  This  treat- 
ment miraculously  started  the  motor,  so  the  fat  man 
grinned  idiotically,  hopped  in  beside  the  girl,  and 
prepared  for  a  pleasant  ride. 

"Gangway!"  he  shouted  happily,  and,  as  though  to 
mock  him,  down  came  a  torrent  of  rain  that  filled  the 
car  to  overflowing  in  less  than  a  minute.  Then,  clasp- 
ing the  redhead,  he  sank  with  a  despairing  screech 
beneath  the  surface,  leaving  a  pathetic  string  of  bub- 
bles as  farewell  to  a  world  that  had  done  him  dirt. 

'"PHEY  reappeared  a  second  later,  and  the  flabby  man 
A  cocked  a  fishy  gray  eye  at  one  of  the  onlookers. 
"How  was  it?"  he  gasped  anxiously. 

"A  knockout,"  said  the  director,  waving  aside  the 
microphone  fishing  pole  and  the  overhead  rain  ma- 
chine.    "When  this  sequence  gets   on  the  screen  it'll 

46 


send  'em  home  in  hysterics.  No  kidding,  Jelly  Roll, 
that  big  moonface  of  yours  certainly  can  look 
dumb." 

Mr.  Osbert  (Jelly  Roll)  Wick  considered  this  as  he 
scrubbed  his  countenance  with  a  towel.  "And  I'm  be- 
ginning to  think  it  isn't  skin  deep,"  he  admitted. 
"Whew!  Four  times  this  afternoon  before  you're  sat- 
isfied. A  fat  lot  you  care,  all  dressed  up  like  a  haber- 
dasher's delight,  but  it's  pretty  rough  on  Marjorie 
and  me." 

"Oh,  I  don't  mind,"  said  the  flaming-haired  Miss 
Berry,  twinkling  her  laughing  blue  eyes.  "It's  rather 
fun,  I  think,  and  everyone  who  has  a  car  will  appre- 
ciate the  picture.  You  can't  make  comedies  and  be 
dignified  at  the  same  time,  so  snap  out  of  it,  Jelly 
Roll." 

"That's  just  it,"  sighed  the  flabby  man.  "What  am 
I,  after  all?  A  clown.  A  piece  of  driftwood  on  the 
river  of  life,  wasting  myself  on  cheap  two-reelers 
when  I  should — "  He  broke  off  as  the  peppery  little 
director  advanced  threateningly. 

"So  you've  been  reading  books!"  snarled  the  mega- 
phone wielder.  "Going  artistic  on  me,  eh?  Two  thou- 
sand a  week  is  hard  to  take,  I  s'pose,  for  making  the 
nation  forget  its  troubles.  Say,  listen,  nobody  can 
pull  that  tear-behind-the-smile  stuff  around  me.  Why, 
if  you  didn't  have  that  silly-looking  pan  you'd  be  a 
deckhand  on  a  submarine  or  something.  Get  some 
dry  clothes  on,  both  of  you,  and  don't  forget  those  res- 
taurant retakes  first  thing  in  the  morning." 

V/fR.  WICK  shambled  away  to  change  in  a  nearby 
*■**■  tent,  and  later,  driving  Miss  Berry  back  to  Holly- 
wood in  his  glittering  roadster,  he  resumed  his  fishing 


going  on  at  top  speed.    On  stage  A  a   newlywed  was  feeding   roach   powder  to  his  mother-in-law. 
Wick,  in    a    misfit    dress    suit,  was    being    industriously  decorated  with  a   mass  of  slithery  spaghetti. 


HONEY 

for     sympathy,     against     which     she     was     prepared. 

"What  I've  got  in  here,"  he  croaked,  thumping  his 
chest,  "is  ambition.  Look  at  Chaplin  and  Lloyd  — 
they're  making  six-reel  features,  so  why  can't  I?  And, 
furthermore,  my  dream  is  to  graduate  from  slapstick 
and  do  drawing-room  comedy,  the  deft  kind  that  the 
critics  rave  over." 

Marjorie  studied  him  anxiously.  "You're  crazy,"  she 
said  sharply.  "Chaplin  and  Lloyd  have  the  audience 
pulling  for  them,  out  the  fans  laugh  at  you.  And  the 
idea  of  you  being  deft!  Heavens,  Jelly,  you  may  have 
no  more  sex  appeal  than  a  roomful  of  authors,  but 
you'll  be  a  star  long  after  the  collar  ad  boys  have 
folded  up." 

"But  I'm  in  a  rut  and " 

"If  you  are,  it's  a  comfortable  one.  Is  it  really  so 
bad  to  be  famous  and  to  have  me  caring  for  you,  even 
though  you  disappointed  me  by  not  proposing  last 
week?" 

Mr.  Wick  groaned  tragically  and  tried  out  a  Shake- 
spearean gesture.  "I  was  going  to,"  he  said  earnestly, 
"but  then  I  got  to  thinking  I'd  wait  until  I  was  more 
important.  I  want  you  to  be  somebody  in  the  social 
racket,  and  you  know  darned  well  that  two-reel 
people  are  just  another  bucket  of  sand  at  Ocean 
Park." 

The  girl  was  silent,  fully  aware  that  her  companion 
was  correct.  One  of  Hollywood's  favorite  sports  con- 
sisted of  tossing  the  gay  and  festive  snub  at  the  layer 
just  below,  and  she  knew  that  Jelly  Roll,  even  though 
his  pictures  had  saved  many  a  feeble  program,  would 
not  be  able  to  breathe  the  same  air  as  the  fashionable 
stars  without  getting  pneumonia. 

"I  don't  care  anything  about  the  society  end  of  it," 
she  said  at  length.  "I'd  rather  eat  at  my  own  house 
than  spend  my  life  in  other  people's  homes.  Ask  me 
now,  Jelly." 

"I  can't,"  said  the  comedian.  "I'm  too  disheart- 
ened.    Did  you  hear  Joe  tell  us  about  the  cafe  retakes 


By  STEWART  ROBERTSON 

Illustrated   by  Russell   Patterson 


tomorrow?  Well,  the  news  crumpled  me  up  like  a 
paper  towel,  because  that's  where  I  get  socked  with 
the  bowl  of  spaghetti.  It's  tragic,  I'm  telling  you,  for 
a  guy  with  the  soul  of  Hamlet  to  be  playing  the  jester. 
It's — cockeyed  censors!" 

"Come  out  of  your  trance!"  screamed  Miss  Berry, 
jabbing  him  in  the  ribs.  "Didn't  you  see  the  red  light, 
you  idiot — oh,  now  we're  going  to  get  a  ticket,  and  I'm 
starving.  I  can  just  see  the  judge  taking  Hamlet  as 
an  alibi." 

A  MEATY-FACED  policeman  was  coming  toward  them 
^*-  on  the  run.  "Guys  like  you  should  be  roostin'  on 
a  load  of  hay  instead  of  a  car!"  he  bellowed.  "Gowan, 
tell  me  the  one  about  your  wife  is  havin'  triplets,  you 
big — "  Then,  as  he  drew  nearer  his  expression  changed 
to  that  of  a  child  staring  at  his  first  rhinoceros. 
"G— gee,"  he  stammered,  "if  it  ain't  Jelly  Roll  Wick, 
himself.  Say,  Mr.  Wick,  I  guess  probably  you  was 
gazin'  in  that  lady's  eyes  instead  of  watchin'  me,  and 
what  I  says  is  who  wouldn't?" 

"Do  I  know  you?"  asked  the  comedian  frigidly. 

"Naw,  but  I  know  you.  I  could  recognize  that 
punkin  face  of  yours  a  mile  off.  Say,  Mr.  Wick,  just 
send  me  an  autographed  pitcher  an'  we'll  call  it  square, 
see?  Here's  my  address.  I  think  you're  swell,  an'  so 
does  me  wife,  an'  kids,  an'  when  you  fell  offa  roof 
into  a  barrel  o'  tar  in  that  last  fillum,  I  pretty  near 
passed  out.  Happy  days,  Mr.  Wick,  you  sure  got  a 
mush  that  would  make  even  a  landlord  laugh." 

The  crimson  Jelly  Roll  muttered  a  mingled  thanks 
and  curse,  and  rolled  away,  while  the  policeman  stood 
looking  after  him. 

"He  didn't  seem  any  too  pleased,"  he  said  perplexedly. 
"Still  maybe  he's  bashful,  like  most  of  the  great.  This 
is  somethin'  to  brag  about,  me  chinnin'  with  old  Jelly 
Roll.  Haw,  haw — he's  a  good  old  stiff,  but  if  it  had 
been  one  of  them  shellacked  sheiks  I'd  of  give  him 
the  works." 

47 


What    Happened    When    a    Fat    $2,000-a-Week 


I^LEVEN  o'clock  the  next  morning  found  the  Chortle 
J~'  Comedies  Studio  in  a  mad  whirl  of  noise.  The 
serious  business  of  being  funny  was  going  at  top  speed 
with  three  sound  stages  recording  views  of  minor 
crimes  that  always  culminated  in  assault  and  battery. 
On  Stage  A  a  newlywed  was  feeding  roach  powder  to 
his  mother-in-law.  Stage  B  sheltered  a  couple  of 
comedians  setting  fire  to  a  sheriff's  whiskers,  while  in 
the  third  enclosure  Mr.  Wick,  in  a  misfit  dress  suit, 
was  being  industriously  decorated  with  a  mass  of  slith- 
ery spaghetti. 

Finally,  after  three  tries,  the  director  signaled  his 
approval  and  the  exhausted  Jelly  Roll  sank  weakly  into 
a  chair  and  registered  martyrdom. 

"I'm  through!"  he  wheezed.  "When  my  contract  runs 
out  next  month  you  can  find  some  other  lunatic.  Socked 
with  spaghetti — is  that  art?    Is  that  creative?    Is " 

"Aw,  relax  your  larynx,"  rasped  the  director.     "And 
lay  off  the  sob  stuff,  you  hear  me?     If  I  could  get  my 
hooks  on  the  sap  who  started  the  Laugh  Clown  Laugh 
gag,  I'd  separate  his  voice  from 
his  body." 

"But  I'm  serious.  Look  here, 
Joe,  before  I  crashed  the  movies 
I  hung  around  the  parks  so 
much  I  was  beginning  to  think 
my  name  was  Benchley,  and  be- 
lieve me,  I'd  rather  go  back  to 
that  than  grow  gray  getting 
smeared  with  pies." 

"You've  got  to  do  better,  if 
you  expect  me  to  break  down," 
sneered  Joe.  "Just  for  being  up- 
stage, I'll  have  a  sequence  in 
your  next  picture  where  —  ah, 
good  morning,  Mr.  Squibb,  hap- 
py to  see  you,  Mr.  Squibb.  Quick, 
somebody  give  Mr.  Squibb  a 
chair!" 

The  cause  of  this  startling  po- 
liteness was  a  sawed-off  little 
man  with  the  features  of  a  gar- 
goyle, but  who  carried  himself 
with  the  assurance  of  a  Turk 
owning   a  hundred   wives.     Mr. 

Eppus  Squibb,  seventh  vice-president  of  Fascination 
Films,  the  huge  producing  concern  that  controlled 
Chortle  Comedies,  was  aware  of  his  importance,  and 
now  he  leered  triumphantly  upon  the  lowly  two-reelers. 

"Comedy,"  squawked  Mr.  Squibb,  "is  the  oats  in  the 
manger  of  life.    Am  I  a  liar?" 

No  answer.  Everyone  stiffened  expectantly,  and  Mr. 
Squibb  prepared  to  throw  the  art  of  speech  for  a  loss. 

"FASCINATION  has  bought  the  rights  to  'The  Pi- 

"  rate's  Princess,'  "  he  declared  oilily.  "It's  one  of  them 
costume  dramaticals  where  the  hero  is  pretty  loose  with 
his  tenor.  Swords,  songs  and  saving  the  gal — the  old 
stuff  that  always  gets  'em,  but  it  needs  contrast.  Ham 
needs  eggs,  Minneapolis  needs  Saint  Paul,  and  when  a 
story  is  dripping  with  romance  and  tears,  a  few  belly 
laughs  wouldn't  do  it  no  harm.    Could  I  be  wrong?" 

Jelly  Roll  began  to  tremble  and  he  listened  to  the 
voice  of  opportunity  without  knowing  that  Marjorie 
was  close  beside  him. 

"So  I  says  to  myself,"  proceeded  the  little  man,  "we'll 
write  in  a  part  for  Jelly  Roll  Wick,  and  so  I  gave  the 
job  to  our  memory  man,  who's  got  all  the  good  stuff 
from  every  hit  since  1920  right  at  his  fingertips.  And 
so,  Joe,  I'm  here  to  take  him  off  your  set.  He'll  move 
in  swell  company  —  Adrienne  Effingham  and  Boylston 
Tremont,  from  the  original  Broadway  cast,  are  going  to 
warble  the  leads.  It's  all  in  color,  too,  which  will  give 
him  a  chance  to  wear  a  red  nose." 

"But  listen,"  said  Mr.  Wick  hopefully,  "if  I'm  to  play 
opposite  those  gaspers  I'll  have  to  be  kind  of  refined, 
won't  I?" 

48 


The  moon-faced  comedian,  Jelly 
Roll,  was  borrowed  from  his  com- 
edy studio  to  lend  laughs  to  a  ro- 
mantic singing  film.  His  duty  was 
to  provide  the  comic  relief  from 
uniforms,  love  and  yo-ho-ho  chor- 
uses. 

Then  Jelly  Roll,  who  had  no  more 
sex  appeal  than  a  roomful  of  au- 
thors, met  the  Toast  of  Times 
Square,  imported  to  exercise  her 
lureful  soprano  in  the  film. 

Read  what  happened.  This  is  the 
funniest  story  of  the  year. 


Mr.  Squibb  interpreted  a  knowing  wink  from  the  hov- 
ering Joe.  "Well,"  he  said  cagily,  "it  all  depends.  I 
want  you  to  be  a  relief  for  too  much  slush,  because,  be- 
tween you  'n  me,  this  Tremont  feller  may  be  a  panic 
with  the  dames,  but  you  can't  depend  on  these  tenors 
for  everything.  Most  of  'em  have  been  On  the  Road  to 
Mandalay  so  long  that  they've  got  fallen  arches.  That's 
why  you're  going  to  have  a  swell  song  called  'My  Brother 
is  a  Private  Still,  for  He's  a  Private  Still.' " 

Jelly  Roll's  pop  eyes  took  on  the  glaze  peculiar  to 
poets  and  punch-drunk  pugilists.  "Gosh,"  he  mum- 
bled, "I  guess  this  must  be  what  they  call  Fate.  Here 
I  was  getting  ready  to  leave  the  picture  game  on  its 
back,  and  look  what's  dished  up  to  me."  Then  he  re- 
sponded loyally  to  the  pressure  against  his  arm.  "And 
can  you  make  a  place  for  Marjorie?" 

"Sorry,"  said  Mr.  Squibb.     "Everything  else  is  com- 
pletely set.     Say,  you  two  are  engaged,  or  something, 
ain't  you?     Well,  girlie,  you  don't  need  to  worry  about 
losing  this  man  mountain  when  he  gets  up  among  them 
high-priced  hyenas." 

"That's  what  you  say,"  pouted 
Miss  Berry. 

"Who'd  want  him?"  inquired 
Mr.  Squibb  rudely.  "Of  course, 
I  ain't  saying  he  lacks  good 
points  —  love's  got  eyes  like  a 
hungry  eagle,  they  tell  me — but 
the  general  impression  around 
headquarters  is  that  Jelly 
Roll's  got  no  chimes  in  his 
steeple." 

The  unfortunate  Mr.  Wick 
fidgeted  miserably,  not  daring  to 
cross  the  seventh  vice-president, 
so  he  guffawed  amiably  and 
tried  to  change  the  subject. 

"I  suppose  that  foreign  di- 
rector is  going  to  handle  things," 
he  ventured.  "You  know,  that 
Cin— Cina— uh." 

"Cinabinarino?  No,  he's  out. 
I  fired  him  because  he  was  too 
lavish." 

"Oh,  yeah?"  piped  Jelly  Roll. 

"That's  funny,  I  thought  all  the  time  he  was  a  Cuban." 

Mr.    Squibb   smacked   himself   on   the   forehead   and 

staggered    back.      "See?"    he   yelled   to   the    indignant 

Marjorie.     "What  did  I  tell  you?" 

*  *  *  *  *  * 

HpHE  advent  of  Jelly  Roll  Wick  onto  the  Fascination 
*■  lot,  important  as  it  was  to  him,  caused  no  particu- 
lar stampede.  The  screen  players  of  established  fame 
in  the  pre-talkie  days  greeted  him  with  the  patroniz- 
ing familiarity  of  royalty  hobnobbing  with  the  peas- 
ants. The  director  was  cordial,  and  Mr.  Boylston  Tre- 
mont, lonesome  for  his  dear  old  Broadway,  grew 
friendly  enough  as  he  realized  that  Jelly  Roll  offered 
no  competition  to  his  charms.  And  then,  humming  an 
aria,  he  led  the  comedian  to  his  doom. 

Scrunched  in  a  quiet  corner  was  a  vivid  female  who 
lurked  amid  the  dingy  surroundings  like  a  tigress  in 
the  jungle.  Olive-skinned,  hair  like  black  satin,  and 
with  a  sultry  pair  of  yellowish  eyes.  Miss  Adrienne 
Effingham  proceeded  to  exert  the  lure  that  made  gulli- 
ble New  Yorkers  pay  $6  for  a  chance  to  breathe  the 
same  air. 

"Charmed,"  she  fluted  musically,  and  then  waited,  it 
seemed  a  trifle  anxiously. 

Mr.  Wick  goggled  at  her,  fascinated.  Accustomed 
as  he  was  to  seeing  beautiful  women,  they  seldom  failed 
to  regard  him  as  anything  but  a  banana  peel  on  the 
doorstep  of  progress,  whereas  this  vision  was  smiling 
a  dazzling  welcome.  He  advanced,  trembling  with 
anticipation. 

"Me,  too,"  he  said  fervently.  "Gosh,  Miss  Effing- 
ham, you're  even  more  gorgeous  than  I  expected !     This 


Comic  Took  the   Laugh-Clown-Laugh   Gag   Seriously 


is  a  proud  day  for  me,  to  be 
working  with  the  Toast  of 
Times  Square.  Swell  weather 
we're  —  uh  —  say,  you're  a 
honey!" 

A  wave  of  relief  swept  across 
the  lady's  oval  face,  quickly 
followed  by  a  flash  from  the 
tawny  searchlights.  "You're 
the  nicest  man,"  she  cooed. 
"Please  sit  down  and  tell  me 
about  yourself.  You  know, 
you're  really  my  favorite 
actor;  many  a  time  I've  for- 
gotten my  troubles  by  watch- 
ing you  tumble  down  a 
flight  of  stairs." 

Mr.  Wick's  artistic  soul 
writhed,  at  the  praise.  "I've 
left  all  that  behind,  I  hope," 
he  said  grandly.  #"What  I'm 
pointing  for  is  deft  comedy; 
that  sly  humor  with  class  all 
over  it,  like  George  Arliss  in 
'Disraeli.' " 

"Just  like  all  the  comics," 
tinkled  Miss  Effingham,  turn- 
ing a  desire  to  laugh  into  a 
fit  of  coughing.  "They  al- 
ways think  they  could  do  a 
better  job  with  King  Lear, 
but  it's  easy  to  see  that 
you're  superior  to  the  com- 
mon herd.  Genius  always 
feels  thwarted,  doesn't  it,  Mr. 
Wick?  Look  at  me.  I've 
come  out  here  to  sing  my 
first  picture,  and  the  movie 
crowd  have  been  simply  hor- 
rid. You're  the  only  one 
who's  behaved  like  a  gentle- 
man." 

"Under  your  hat,"  said  Jel- 
ly Roll,  peering  carefully 
around.  "They're  jealous  of 
you,  that's  all,  because  the  old 
silent  gang  is  afraid  they'll 
get  knocked  off  their  pedes- 
tals by  you  warblers.  That's 
why  they  ritz  you,  and  they 
give  me  the  mackerel  eye  as 
well." 

"Don't  you  mind,"  said  the 
glamorous  Adrienne.  "Why, 
we  are  both  in  the  same  boat. 
You  don't  object  to  that,  do 
you?" 


TV/TISS  EFFINGHAM  un- 
-*-*•*•  coiled  herself,  joined  Mr. 
Tremont,  and  went  into  action 
with  a  few  sample  cadenzas 
that  caused  the  old  Hollywood 
settlers  to  curse  in  anguish. 
The    prima    donna's    flood    of 

golden  melody  was  equaled  only  by  the  nonchalance  of 
her  acting,  and  the  only  apparent  fault  was  that  she 
seemed  entirely  too  sophisticated  to  be  the  timorous 
princess  called  for  in  the  script.  Here,  plainly,  was 
another  of  the  increasingly  frequent  cases  where 
Broadway's  verbal  artillery  put  down  a  creeping  bar- 
rage on  the  faltering  screen  players. 

The  morning  passed  with  several  trial  scenes  that 
drew  chuckles  from  the  director,  and  at  noon  Adrienne, 
her  eyes  laden  with  enticement,  inquired  if  dear  Mr. 
Wick  would  take  her  to  lunch.  Mr.  Wick  would — and 
did.     At  the  end  of  the  day  he  motored  her  back  to 


In  the  corner  was  a  vivid  female  who  lurked  among  the  dingy  surroundings 
like  a  tigress  in  the  jungle.  Miss  Adrienne  Effingham  proceeded  to  exert  the 
lure  that  made  gullible  New  Yorkers  pay  $6.00  for  a  chance  to  breathe  the  same 
air.  Mr.  Wick  goggled  at  her,  fascinated.  "Gosh,  Miss  Effingham, you're  more 
gorgeous  than  I  expected,"  he  declared  fervently. 


the  gilt-edged  Musclebound  Arms,  that  haven  of  the 
sacred  who  refuse  to  have  their  telephone  numbers  in 
the  directory,  and  although  he  had  intended  to  bid  her 
a  Prisoner  of  Zenda  farewell  and  return  to  the  wait- 
ing Marjorie,  he  was  dimly  surprised  to  find  himself 
cantering  about  the  Cocoanut  Grove  with  La  Effing- 
ham in  his  arms. 

As  the  evening  went,  so  went  the  ensuing  week.  A 
premiere  blazoned  forth  with  its  Coney  Island  antics, 
and  Jelly  Roily  could  be  seen  escorting  the  aloof  Adri- 
enne, whose  nose  was  acquiring  a  pronounced  tilt. 
They  appeared  as  a  team  at     (Continued  on  page  110) 

49 


The  Unknown 

CHARLIE  CHAPLIN 


CHAPLIN'S  moods  are 
as  variable   as   April 
in  Alabama.     He  has 
always   reminded   me 
of    a    powerful    eight-cylin- 
dered  engine — with  most  of 
the  cylinders  missing. 

There  is  in  him,  however, 
a  deep  strain  of  compassion 
and  understanding.  He  has 
no  antagonisms  toward  any 
race  or  creed.  Once,  when 
speaking  of  Negroes  and 
their  humor,  he  said  to  me : 
"I  never  laugh  at  their  hu- 
mor. They  have  suffered 
too  much,  it  seems  to  me, 
ever  to  be  funny." 

The  words  struck  me  for- 
cibly. I  watched  his  expres- 
sion closely.  His  eyes  were 
narrowed  in  the  same  man- 
ner as  when  he  had  gazed  at 
a  beautiful  sunset  without 
admiration. 

"Every  race  has  suffered," 
I  said,  after  a  pause,  "and 
some  had  sensibilities 
greater  than  Negroes." 

His  mind  evidently  on 
other  things,  he  made  no  comment,  seemed  not  to  hear. 

Few  men  in  any  walk  of  life  would  have  made  such 
a  remark — and  fewer  actors. 

CHAPLIN  has  the  gift  of  ready  wit. 
Madame  Elinor  Glyn,  upon  meeting  him,  was  said 
to  have  remarked :  "You  don't  look  nearly  as  funny  as  I 
thought  you  would." 

"Neither  do  you,"  was  the  comedian's  reply. 

One  story  pleased  Chaplin  greatly,  and  he  told  it 
often,  with  variations.  It  concerned  his  accidental  meet- 
ing with  a  girl  who  was  not  aware  of  his  identity. 
His  friends  always  listened  patiently,  as  they  were  will- 
ing to  allow  him  all  the  vestiges  of  romance  possible. 
His  usual  version  was  about  as  follows: 

"I  met  a  pretty  little  girl  down  on  Broadway  one 
day.  She  worked  at  a  soda  fountain  and  I  had  an  ice- 
cream soda.  I  had  no  necktie  on  and  my  shirt  was  open 
at  the  throat  and  I  hadn't  shaved  in  three  days.  I  was 
terribly  low  and  I  didn't  know  what  to  do  with  myself, 
so  I  just  strolled  into  the  place.  Just  as  I  was  finishing 
my  soda  the  girl  was  going  off  duty.  She'd  smiled  at 
me  before,  so  I  said,  jokingly,  'Can  I  walk  down  the 
street  with  you?'  And  she  came  right  back  with 
'Surely.' 

"\\/"E  walked  out  of  the  store  together.     Finally  the 

v*    girl  asked,  'Where  do  you  work?' 

"  'Over  at  Robinson's  in  the  shoe  department.  I'm 
on  my  vacation  now,'  I  told  her. 

"  'Gee,  you  got  a  good  job,  ain't  you?'  She  looked  at 
me  admiringly  when  she  said  it. 

"  'You  bet  I  have.  I'm  getting  thirty  a  week  the 
first  of  October.  I  came  out  here  from  the  East  and 
fell  right  into  it  a  year  ago.' 

"  'Gosh,  you  was  lucky,'  said  the  girl.     'My  brother 

50 


Jim  Tully,  here  done  in  caricature  by  Joe  Grant, 

continues  his  study  of  Charlie  Chaplin  this  month. 

Next  month   he   will  tell   NEW   MOVIE  readers  of 

further  adventures  in  interviewing. 


didn't  get  work  for  four 
months  after  we  come  here. 
Work's  hard  to  get  here, 
when  you  don't  know  no  one.' 

"  'I'll  say  it  is,'  I  told  her. 

"We  looked  at  some  hats 
in  a  window. 

"  'That's  a  peach,'  I  said, 
'for  six  dollars.' 

"  'Gee,  it's  a  dandy,  but 
they  ain't  no  hat  in  the 
world  worth  that  much — not 
when  you  jerk  soda  for  a  liv- 
ing. I  make  all  my  own 
hats.' 

"'That  so?'  I  said.  'The 
hat  you  got  on  now  looks 
nice.    Did  you  make  it?' 

"  'I  sure  did.' 

"T'VE  never  seen  a  prettier 
*  girl  than  that  little  girl. 
She    had    beautiful    auburn 
hair.     It  glinted  in  the  sun 
under  her  hat.     She  had  a 
little  doll  mouth  and  great 
big   blue   eyes    that   always 
seemed   to   be   asking  ques- 
tions.     We    went    over    in 
Pershing    Square    and    sat 
down  and  I  kept  my  cap  low  over  my  eyes  so  no  one 
would  notice  me,  and  the  little  kid  talked  on,  just  like 
she  was  hungry  to  tell  someone  her  troubles. 
"  'You  like  it  in  California  ?'  I  asked  her. 
"  'Yes.     We  had  so  much  trouble  back  in   Iowa   I 
was  glad  to  get  away.    Father  owned  a  big  farm  there, 
and   then   everything   happened   at   once.'     She   shud- 
dered, and  I  didn't  press  the  matter,  but  changed  the 
subject. 

"  'I'd  like  to  see  you  some  evening,'  I  suggested. 
'I  think  we'd  get  along  fine.' 

"She  said,  'Yes,  I'd  like  you — as  long  as  you  was 
kind  to  me.' 

"She  looked  so  sad  when  she  said  it  that  I  turned 
away  from  her,  afraid  that  the  tears  might  come. 

"  'I  may  have  to  go  back  to  Iowa  any  day  now. 
My  father — they  put  him  away — he  got  sunstruck  one 
time  and  never  quite  got  over  it.' 

"  'Gee,  that's  too  bad.  I  understand — really  I  do.' 
She  looked  at  me,  a  hundred  questions  in  her  eyes. 

"I  made  up  my  mind  right  then  to  be  her 
friend. 

"  'Let's  go  and  have  something  to  eat,'  I  suggested. 
She  was  willing,  and  we  walked  along  Fifth  Street. 
When  we  came  to  Boos  Brothers'  Cafeteria,  near  Broad- 
way, she  kind  of  sidled  toward  it. 

"T  TOLD  her  I  didn't  want  to  go  there  and  that  I 
■*-  knew  a  better  place. 

"She  said,  'Where?'  and  I  said,  'The  Alexandria.' 

"She  gasped  right  out  and  said,  'Gee,  no — it's  too 
swell.     It'll  cost  you  a  week's  wages  for  a  meal  there.' 

"I  told  her  I  wanted  to  celebrate  and  that  one  of 
the  waiters  roomed  where  I  did  and  that  it  would  be 
all  right. 

"  'But  you  ain't  got  no  tie  on,'  she  told  me. 


The    Complex   and   Many- 
Sided    Genius   of   Laughter 
is  Vividly  Described   in   his 
First  Real  Analysis 


BY   JIM  TULLY 


"I  told  her  that  we'd  sit  over  in  the  corner.  Finally 
she  went  in  with  me. 

"We  had  the  finest  time.  She  soon  forgot  herself 
and  began  to  talk  to  me  some  more  about  her  life  on 
the  farm  and  her  driving  a  Ford  to  high  school  every 
morning.  That  her  brother  could  call  hogs  so  that 
they  could  hear  him  two  miles  off. 

"Then  I  told  her  how  one  time  I  nearly  bought  a 
hog  ranch  in  Texas  and  settled  down  to  raise  hogs.  I 
intended  to  do  that  one  time  just  before  I  went  into 
pictures,  and  I  came  darn  near  letting  the  cat  out  of 
the  bag,  forgetting  that  I  was  just  a  shoe  clerk  to 
her.  When  she  said,  'It  takes  money  to  buy  hog 
ranches — even  in  Texas,'  I  came  down  to  earth. 

"We  sat  there  a  long  time  and  kept  getting  chum- 
mier and  chummier  till  finally  Norma  Talmadge  came 
in.  She  came  running  up  to  me,  saying,  'Hello,  Char- 
lie Chaplin,'  and  the  game  was  up.  The  little  girl 
looked  startled  and  tried  to  stammer  something  when 
I  introduced  Norma  to  her.  She  excused  herself  for 
a  minute" — Charlie  would  pause  for  a  moment,  and 
then  continue  wistfully,  "and  she  never  came  back. 
She  never  returned  to  work  at  the  same  place,  and  I 
never  could  find  any  trace  of  her.     And  that  was  that." 

CHAPLIN  was  not  always  so  considerate  of  romantic 
young  ladies.  I  was  with  him  once  at  the  beach 
in  Santa  Monica.  It  seemed  that  nothing  would  hap- 
pen to  break  the  monotony  of  our  companionship.  At 
last  a  diversion  occurred. 

A  woman  asked  me  if  the  gentleman  with  me  was 
not  the  great  Mr.  Chaplin.  I  frankly  admitted  his  iden- 
tity. She  had  once  traveled  to  Hawaii  on  board  the 
same  ship  with  him  and  she  knew  him  by  sight. 

An  extraordinarily  beauti- 
ful young  girl  of  sixteen  was 
with  her.  Introductions  over, 
we  chatted  on  the  beach 
until  dinner  time.  Chaplin 
invited  them  to  dine  with  us. 

The  girl,  who  had  grad- 
uated from  high  school  at 
fifteen,  was  attending  an  ex- 
clusive finishing  school  at 
the  time.  She  proved  to  be 
more  than  the  comedian's 
match  in  clever  repartee.  He 
was  much  taken  with  her. 

At  this  time  I  was  secretly 
hoping  that  somethingwould 
occur  to  end  his  too-serious 
affair  with  Lita  Grey.  I 
watched  the  proceedings  with 
entire  satisfaction. 

Chaplin  asked  the  young 
lady  to  meet  him  at  the  Am- 
bassador the  next  day  and  to 
call  at  the  studio  the  day 
following  that. 

After  dinner  I  talked  with 
the  elder  lady  in  order  to 
allow  the  seekers  after  ro- 
mance more  time  together. 

While  riding  to  Los  An- 


SAYS  JIM  TULLY 

CHAPLIN— 

" — never  makes  comment  on  those 
who  have  wrongfully  used  him. 
Neither  does  he  speak  of  a  kindness 
which  he  has  done  to  another  human 
being.'" 

"— is  fond  of  animals/' 
" — has  very  keen  perceptions  but,  by 
inclination  an  actor,  he  has  not  always 
a  proper  sense  of  values." 
" — is  a  facile  conversationalist." 
" — is  bound   up  with  pity  of  his   own 
early  suffering  but  his  sympathies  are 
seldom  anything  but  abstract." 
" — is  not  by  nature  a  generous  man, 
because  of  hurts  suffered  during  boy- 
hood." 


Charlie  Chaplin  has  been  stamped  by  his  early  suffering. 

The  hurts  and  fears  of  a  sensitive  boyhood  mark  his  moods. 

Perhaps  from  them   come   his   ability  to   shade   laughter 

with   tears. 

geles  that  night,  I  expatiated  upon  the  girl's  charm, 
her  beauty,  her  clever  mind.  Chaplin  seemed  much  im- 
pressed. He  leaned  back  in  the  limousine  with  an  ex- 
pression of  pained  wonder  on  his  face.  He  became 
cheerful.  He  agreed  with  me  volubly  and  I  was  pleased. 
I  felt  that  any  change  would  be  for  the  better  so  far  as 
he  was  concerned.  I  needed  no  great  gift  of  prophecy 
to  predict  that  it  required  a  more  understanding  woman 

than  Lita  Grey  to  keep 
calm  the  marital  waters  of 
such  a  man. 


BUT,  while  he  talked,  a  se- 
cret misgiving  came.  I 
thought  of  the  women  he 
had  known  and  admired. 
Negri,  with  some  intelli- 
gence, was  flagrantly  theat- 
rical, as  her  publicity  ride 
across  the  nation  to  greet 
the  body  of  Chaplin's  suc- 
cessor, Rudolph  Valentino, 
was  to  prove. 

There  was  some  quality  in 
Chaplin  which  seemed  to 
make  him  fear,  or  at  least 
avoid,  women  of  high  intelli- 
gence. 

I  wondered  about  these 
matters,  until  the  limousine 
stopped,  and  the  greatest 
jester  in  Hollywood  went  on 
to  his  mansion  alone. 

He  did  not  keep  his  en- 
gagement with  the  young 
girl  the  next  day. 

The  following  day  she 
{Continued  on  page  114) 

51 


w 


VISITS 

to  the 

FAMOUS 
STUDIOS 


m- 


A  SHORT  sixteen  years  ago — bare  fields 
which  did  not  have  even  the  dignity  of  a 
crop  of  weeds.    A  sandy  waste. 

Today  —  the     Metro-Goldwyn-Mayer 
studios.     Valued  at  $25,000,000. 

In  1914  a  real  estate  man  sat  in  his  office. 
He  owned  hundreds  of  acres  of  land  on 
the  outskirts  of  Los  Angeles  and  was  con- 
fronted with  the  problem  of  selling  them.  As 
it  lay,  that  tract  of  land  was  far  from  pleas- 
ing to  the  eye.  Which  but  increased  the  problem 
of  selling  it. 

Something  had  to  be  done  to  draw  attention 
to  the  location,  to  give  it  a  glamour  which  would 
entice  homeseekers.  The  real  estate  man  gave 
up  his  thinking  for  the  day.  He  was  getting  a 
headache.  He  decided  to  forget  those  acres  for 
the  afternoon.  He  would  go  to  a  movie.  Half 
way  out  the  door  he  stopped. 

Movie!  Motion  pictures.  (Continued  on  page  54) 


Top  left,  the  mammoth  gates  of  Metro-Goldwyn- 
Mayer,  looking  from  the  inside  out.  The  gates 
are  gigantic,  so  that  anything  from  a  big  talkie 
truck  to  a  procession  of  elephants  can  move 
through  easily.  Above,  the  exterior  of  the  modern 
theater  stage,  where  revues  are  staged  just  as  they 
would  be  in  a  Broadway  playhouse.  At  the  left, 
the  guiding  spirits  of  M.  G.  M.:  Louis  B.  Mayer, 
vice  president  in  charge  of  production,  and  Irving 
G.  Thalberg,  executive  associate  producer,  . 


52 


j 


A    Personally   Conducted 
Tour  of  the   Metro- 
Goldwyn-Mayer 
Studios 


Below,  an  airplane  view  of  the  Metro- 
Goldwyn-Mayer  studios  at  Culver 
City.  If  you  look  closely  you  will  see 
the  sham  fronts  of  make-believe  cities. 


Below,  a    perspective   of  the  south- 
east corner  of  the  Metro-Goldwyn- 
Mayer  lot,  showing  the  various  build- 
ings in  detail. 


DRESSING-  Roon 
Bow" 
OPEN- AiR  STAGE. 
SOUND    STA&E 
9H0P6  AND 
<?PVfK  TRACKS- 
COSTUMC  SHOP 


"Theatre 

STA6F 


90UNP 
9TAG6TS 


Airplane 

<ySNAL- 
4 


Becorpimg 
BLG. 


Wardrobe 

HALU<>  ANP 
MO$K   P6PT- 


53 


The  Metro-Goldwyn-Mayer   Studio    Lot,   a    Modern 


A  studio.  Publicity.  Workmen  who  would  need  land 
for  homes. 

Thomas  Ince,  then  a  big  mogul  in  motion  pictures, 
was  called. 

"I'll  give  you,"  said  the  realtor,  "a  flock  of  acres  if 
you  will  build  a  studio  upon  them  and  shoot  motion 
pictures  in  Culver  City." 

"Where?" 

"Culver  City,"  replied  the  real  estate  man.  "You 
may  not  know  it,  but  around  this  studio  you  will  build 
is  going  to  grow  a  prosperous  community.  It  will  be 
called  Culver  City." 

"I'll  do  it,"  said  Ince. 

SO  out  to  the  sanded  wastes  went  Tom  Ince.  He  built 
:  one  rickety  stage  which  passed  for  a  studio  and 
began  making  Western  pictures. 

Two  years  later  a  man  who  has  since  become  rather 
well  known  in  motion  picture  circles  decided  that  Cali- 
fornia was  a  better  place  to  make  pictures  than  was 
New  York. 

Tom  Ince's  once  rickety  stage  had  grown  to  be  three 
large  glassed-in  affairs.  (Remember  this  was  in  the 
days  when  sunlight  was  depended  upon  for  lighting.) 
Samuel  Goldwyn,  coming  West,  bought  the  works. 
Stages,  land  and  all  that  went  with  them. 


Top  left,  the  gate  guardian,  Dan  Owens,  checks  in  Lillian 
Roth.  Second  from  top,  Dorothy  Jordan  and  Lila  Lee  swap 
gossip.  Third,  our  own  Jim  Tully  buys  a  newspaper  out- 
side the  commissary  door.  Lower  left,  Lon  Chaney  and 
ittle  Harry  Earles  between  scenes  of  "The  Unholy  Three." 
Below,  the  big  directory  board,  showing  the  exact  location 
of  the  various  units.  Karl  Dane  and  Gwen  Lee  are  the 
demonstrators. 


mmmm 


it  £*•" 


45  mot**"* 
J;  swvus 

60t  McGftCSOR 

SO   NIBU3 
ohOSER 
j,.*  TOSHES 

ei  bwsous 

r.>  ROACH 
S-r  SEOaWICK 
■'-:   SiASTROM 


54 


City   of  the   Thousand-and-One  Arabian   Nights 


The  romance  of  motion  pictures  and  the  studio  which 
is  now  called  Metro-Goldwyn-Mayer  were  under  way. 
Both  were  making  history,  but  those  who  participated 
in  the  struggles  of  those  old  days  hardly  realized  the 
fact. 

UNDER  the  Goldwyn  regime  at  that  studio  Will 
Rogers  first  came  to  pictures.  Also  came  Pauline 
Frederick,  who  was  the  most  beautiful  of  her  day; 
Helen  Chadwick,  Naomi  Childers,  Sydney  Ainsworth, 
Madge  Kennedy,  Mabel  Normand,  Jack  Pickford,  Tom 
Moore  and  the  great  Geraldine  Farrar,  at  that  time 
the  "Carmen"  of  them  all.  These  and  many  more 
laughed  and  cried  their  way  in  and  out  of  that  old 
studio.     Many  of  them  are  but  faint  memories  today. 

Rupert  Hughes,  Rex  Beach,  Gouverneur  Morris,  Ger- 
trude Atherton — writing  names  which  today  are  as 
big  as  any  in  their  game — all  saw  service  at  that  old 
Goldwyn  studio.  It  was  a  training  ground  for  the 
great. 

In  1924  Metro  and  Louis  B.  Mayer  joined  hands  with 
Sam  Goldwyn  and  the  Metro-Goldwyn-Mayer  organi- 
zation and  studio  developed.  It  has  grown  like  a 
fairy  city. 

The  pictures  on  these  pages  show  you  the  studio  as 
it  is  today.  There  are  twenty-    {Continued  on  page  106) 


Top  right,  exterior  of  John  Gilbert's  private  studio  bunga- 
low. Second  from  top,  Hal  Roach,  the  comedy  director, 
tries  to  confer  with  a  Spanish  senorita.  Third,  John  Mack 
Brown,  wearing  a  Billy-the-Kid  haircut,  reads  his  fan  mail. 
Lower  right,  an  extra  talks  to  Sammy  Lee,  the  studio  dance 
director.  Below,  Karl  Dane  and  John  Mack  Brown  outside 
the  studio  barber  shop.  The  modern  movie  studio  is  a 
miniature  city. 


55 


Th 


e 


HOLLYWOOD 


BOULEVARDIER 


Drawings  by 
Ken  Chamberlain 


By  HERB  HOWE 


The  Paramount  Hacienda:  One  by  one  the  studios 
are  drifting  away  from  Hollywood,  crowded  out  of  ex- 
pensive locations  by  the  town  they  started.  Several 
have  moved  into  San  Fernando  valley,  others  have  found 
hospice  in  Westwood  and  Culver  City.  Paramount,  a 
pioneer,  still  remains,  but  she  has  moved  from  her 
original  location  on  Vine  to  the  old  Brunton  studio  lot 
on  Melrose.  When  Jesse  Lasky  saw  that  the  old  home- 
stead was  being  stalked  by  skyscrapers  he  couldn't  bear 
to  abandon  the  barn  in  which  the  first  of  his  Hollywood 
movies  was  born.  So  he  picked  it  up  and  trundled  it 
over  to  the  new  location.  There  it  is  pensioned  off  as 
a  sort  of  museum.  Every  year  a  ball  and  banquet  are 
held   beneath   its   mothering    rafters.      Cecil    De   Mille 


j,Liitlliu6  ! 


«» i 


1 


n 


helps  to  officiate  on  such  occasions.  It  was  Cecil's 
wizardry  that  converted  the  lowly  manger  into  a  bath- 
tub out  of  which  so  many  stars  sprang  in  personal 
glory. 

Rudie  Still  Gets  Fan  Mail — Rambling  in  reverie  about 
the  lot  with  Paul  Snell,  publicity  don,  I  came  onto  the 
dressing  bungalow  of  Rudie  Valentino.  Paul  explained 
it  is  now  utilized  by  secretaries  handling  the  stars'  fan 
mail.  Many  letters  addressed  to  Rudie  are  received  each 
week.  When  I  asked  from  whence  they  came  a  world- 
weary  blonde  replied,  "Oh  from  up  in  Maine  and  down 
in  Tennessee." 

Evidently  our  vaunted  means  of  communication  are 
not  so  hot.  Anyhow  I  think  it's  nice  that  Rudie  still 
gets  letters. 

Rudie   Within    Call — Rudie    rests    within    call    of   the 
studio  where  he  triumphed.     Forty  feet  from  the  wall 
dividing  the  Paramount  lot  from  the  Hollywood  ceme- 
tery, the  earthiness  of  Rudie  lies  in  the  mausoleum  of 
June   Mathis,   his   discoverer,   who   likewise    is    buried 
there.     Fate  at  last  seems  to  have  relented  its  irony 
and  been  strangely  considerate.    June  loved  Rudie,  and 
1  Rudie  always  wanted  you  to  know  that  June  was  the 
person  responsible  for  leading  him  to  earthly  glory. 

The   Mary   Pickford    School — I   think   it   appro- 
priate that  Mary  Pickf ord's  bungalow  on  the 
Paramount  lot  should  be  used  as  a  school  for 
*■,  children.     Law  requires  that  children  em- 

ployed in  pictures  be  given  regular  school 
instruction.  Paramount  keeps  an  instruc- 
tor regularly  on  the  payroll.    She  holds 
her  classes  in  Mary's  bungalow.  Much 
of  the  time  she  has  no  pupils.  Then 
again  she  has  to  call  for  special  as- 
sistants from  outside.    With  that 
uncannily     wise     child,     Mitzi 
Green,  on  the  lot  I'm  wonder- 
ing if  Prof.  Einstein  won't 
get  a  hurry-up  call. 

v 

Beethoven's  Last  Stand 

—I  also  think  it  appro- 
priate that  Beethoven 
should  make  his  last 
stand  on  Clara 
Bow's  set.  In  the 
days  of  silent  pic- 
tures every  star  had 
an  orchestra  to 
stimulate  her  emo- 
tions. With  the  en- 
trance of  the  micro- 
phone  orchestras 
were  banned  by  ne- 


Clara  Bow  is  the  Cin- 
derella of  the  Para- 
mount lot  but  "She's  an 
intuitively  great  ac- 
tress," says  Herb  Howe 
in  his  plea  for  the  IT  girl. 


C  r\C-4)*^iAJLt&A*^' 


56 


The  Stud  ios  Drift  Away 
from  Hollywood — 
Valentino's  Fan  Mail 
Continues — What's 
to  Become  of  Clara 
Bow?  —  Lew  Ayres 
Arrives 


cessity.  Clara  alone  held  out  for 
the  muse  of  music.  Other  stars 
may  resent  the  prohibition  of 
other  things,  but  Clara  alone  de- 
fies the  prohibition  law  against 
music.  Of  course,  she  can't  have 
it  while  she's  acting,  but  she  in- 
sists upon  it  between  scenes  when 
the  microphone  isn't  listening. 
There  happened  to  be  a  prop  phon- 
ograph on  her  set  the  day  I  panted 
on.  The  boys  were  maliciously 
playing  Harry  Richman  records. 
Everyone  knew  that  Clara  and 
Harry  no  longer  harmonized.  But 
never  once  did  Clara  crack.  Per- 
haps she  was  too  much  interested 
in  her  leading  man,  young  Stanley 
Smith,  to  recognize  Harry's  voice. 
It  is  said  that  Harry  put  Clara  on 
a  six  months'  probation  never  to 
look  at  another  man.  Who,  pray, 
does  this  Richman  think  he  is?  I, 
for  one,  insisted  that  Clara  defy 
him,  which  she  did  in  such  a  nice 
way  that  I've  sent  back  my  slave 
bracelet  to  Garbo. 


What's    To    Become    of    Clara?  — 

Her  producers  sort  of  ditched 
Clara  when  the  talkies  came  on. 
They  knew  she  could  look  and  so 
figured  she  couldn't  talk.  When 
"Paramount     on     Parade"     was 

shown  to  exhibitors  for  the  first  time  Clara  was  absent. 
The  exhibitors  screamed  and  pounded  the  arms  of  their 
chairs.  They  knew  what  they  wanted  and  they  wanted 
IT.  The  producers  hastily  dragged  Clara  out  of  the 
corner  where  they  had  stood  her  and  let  her  do  a  little 
song  and  dance  for  the  picture.  To  the  anguish  of  an- 
other star  on  the  lot  she  quite  outstepped-and-out- 
warbled  her. 

Clara  says  she  would  like  to  retire  from  the  screen 
but  can't  because  of  so  many  poor  relations  dependent 
on  her.  She  is  tired  of  being  banged  about  like  Cinder- 
ella by  press  and  producers.  Personally  I  think  Clara 
has  been  depreciated  by  the  cheese-mongers'  stories 
in  which  she  has  appeared.  She  is  an  intuitively  great 
actress.  Stuart  Erwin,  who  worked  with  her  in  a  recent 
picture,  tells  me  she  has  one  of  those  flash  minds.  She 
reads  a  script  through  once  and  knows  every  line.  "She's 
an  on-and-offer,"  says  Stu.  "But  when  she's  great 
she's  so  darned  great  that  you  forgive  her  for  letting 
down  between  spurts." 

Give  Clara  Bow  the  sympathetic  management  and  in- 
telligent coaching  that  are  vouchsafed  the  frigid  Garbo 
and  you'll  witness  the  competition  of  fire  against  ice. 
Clara  is  what  Chevalier  calls  the  real  thing.  Otherwise 
why  does  Will  Rogers  mention  her  so  often?  And  why 
do  I  in  my  squeaky  way  pound  my  typewriter  into  a 
white  heat  as  I'm  now  doing? 


Herb  Howe  has  gone  to  Europe  to  report  Continental  film  news  and  gossip  for 

NEW  MOVIE  for  the  next  two  or  three  months.     You  will  find  his  new  European 

comments  of  genuine  interest. 


Garbo    Befriends    Interviewers — If    there 
friend  of  interviewers  it  is  Greta  Garbo. 


to  be  interviewed.  I  wish  more  stars  would  realize  they 
have  nothing  to  say.  But  Greta  came  cackling  off  her 
perch  when  a  Swede  interviewer  got  sore  because  she 
shut  the  door  to  him.  He  went  right  home  and  said 
things  in  Swedish,  which  is  a  strong  language.  Greta 
hastily  invited  him  to  come  back  and  made  herself  talk- 
ative in  a  big  way.  I'm  not  chauvinistic.  Indeed,  I've 
been  spitefully  accused  of  preferring  a  Polish  lady  to 
our  native  stars.  No,  it  is  not  patriotism  that  makes 
me  resent  Greta  slamming  the  door  on  American  inter- 
viewers. It's  just  the  bad  taste  of  her.  Why  anyone, 
even  a  Swede,  should  prefer  Swedes.  .  .  .   ! 

Greater  Faith  Hath  No  Woman — Ramon  Novarro  tells 
an  interviewer  that  when  he  marries  he  wants  a  woman 
whose  faith  is  so  great  that,  when  he  tells  her  one  thing 
and  her  eyes  tell  her  another,  she  will  still  believe  him. 
Ramon  doesn't  want  to  be  a  husband,  he  wants  to  be  a 
god.  Which,  of  course,  is  a  far  more  commendable 
ambition. 

Tight  in  a  Big  Way — Chevalier  is  living  up  to  our  idea 
of  a  Frenchman  by  practising  a  frugality  unparalleled 
in  Hollywood.  When  he  came  West  the  second  time  he 
decided  to  rent  a  car  to  save  the  expense  of  purchasing 
one.  When  he  found  it  would  cost  him  fifty  a  week  he 
went  home  and  pondered  the  night  through.  The  next 
day  he  said,  "No,  I  can  buy  me  a  Ford  in  three  months 

ever    was    a      for  what  it  would  cost  renting  a  big  car. 

She  refuses  Chevalier  and   his  wife  live   in  a  small  apartment. 


57 


Herb    Howe    Tells   You    All    About   Hollywood    Folk 


They  take  turns  at 
the  Ford.  If  a  tire 
goes  flat  they  also 
take  turns.  They  do 
not  entertain  in  a 
Hollywood  way.  And 
yet  when  Chevalier 
appears  on  the  stage 
of  a  theater  in  Holly- 
wood for  a  week  he 
dedicates  the  entire 
receipts  of  the  first 
night  to  the  Chevalier 
hospital  in  Hollywood. 
When  other  stars  get 
tight  in  a  big  way 
like  Maurice  —  well, 
they'll  get  our  money 
in  the  same  big  way. 

Corinne  F  o  r  e  v  e  r — 

I'm  drenched  from 
whimpering  through 
stories  about  Corinne 
Griffith  quitting  the 
screen.  She  does  say 
she  may  make  just 
one  more.  Swearing 
off  the  screen  is  like 
swearing  off  on  other 
things;  just  one  more 
little  one  and  you're 
on  it  again.  But  the 
big  rainbow  through 
my  tears  is  the  ru- 
mored possibility  of  a 
little  toddling  talkie 
of  Corinne.  Certainly 
this  fine  orchid  strain 
should  not  die  out. 
Charming,  refined, 
potently  feminine,  Co- 
rinne yet  has  a  brain 
that  would  do  yeoman 
service  for  Morgan  & 
Company.      Although 

she  has  always  appeared  in  luxury  becoming  an  Eastern 
Empress,  she  has  contrived  to  build  a  vast  financial 
structure  of  bonds,  stocks  and  realty  holdings. 

In  attempting  to  describe  Mary  Nolan,  someone  said, 
"Imagine  Corinne  Griffith  beaten  by  life."  I  regret  to 
say  my  imagination  collapsed  like  a  pricked  balloon.  I 
can't  imagine  Corinne  beaten  by  life  but  I  can  imagine 
life  jolly  well  beaten  by  Corinne, — if  you'll  pardon  the 
English. 

Hollywood  War  Hero — I  dropped  in  at  the  Hacienda 
Apartments  to  see  Lew  Ayres.  In  "All  Quiet  on  the 
Western  Front"  Lew  plays  a  soldier  in  a  way  that 
makes  him  an  old  vet's  buddy.  Of  course,  he  was  too 
young  to  serve  in  the  World  War,  but  his  imagination 
apparently  is  equal  to  experience.  Besides,  the  war  that 
Universal  staged  for  the  picture  was  just  about  as  hot 
as  the  original. 

"How  did  it  feel  to  plunge  your  face  in  the  mud?" 
I  asked. 

"Funny,  everyone  asks  that  question,"  Lew  said. 
"Well,  it  wasn't  as  bad  as  learning  lines  every  night, 
after  ten  to  twenty  hours  in  trench  and  shell  hole." 

You  see  a  Hollywood  hero  has  it  tougher  than  a 
World  War  Sammy.  We  didn't  have  to  learn  lines, 
only  such  voluntary  ones  as  "Beautiful  Katie."  I  there- 
fore pin  the  Croix  de  Guerre  on  the  bosom  of  young 
Lew  Ayres.  He's  a  boy  of  authentic  character  who  I 
hope  will  come  through  the  battle  of  Hollywood  un- 
scathed. Incidentally  there  are  more  casualties  in  that 
battle  than  in  any  on  the  Western  front.     Few  come 

58 


C  KtsW*  iwUtK 


out  of  it  the  same  as 
they  entered. 

Hollywood    Rumor — 

No  small  town  can  vie 
with  Hollywood  in 
fantastic  gossip.  I 
was  soberly  informed 
that  Lew  was  given 
the  name  "Lewis 
Ayres"  by  his  direc- 
tor Lewis  Milestone 
who  goes  about  places 
with  Agnes  Ayres. 
The  "Lewis"  was 
from  Milestone,  the 
"Ayres"  from  Agnes. 
My  informant  didn't 
say  how  Lew's  par- 
ents came  by  their 
name  of  Mr.  and  Mrs. 
Lewis  Ayres.  Maybe 
Mr.  Milestone  spon- 
sored their  christen- 
ing, too. 

More  reliable,  per- 
haps, is  the  story  of 
little  Ena  Gregory 
who  was  casting 
about  for  a  more  pro- 
pitious name.  She 
figured  that  Mary  and 
Douglas  were  just 
about  the  best  names 
in  the  business  and 
so  she  is  now  Marion 
Douglas.  A  girl  with 
such  genius  should  be 
heard  from  in  a  big 
way. 


Maurice   Chevalier  is   setting  a 

Instead  of  buying  an  expensive 

in  a  Ford.     And  the  Cheval 


Hollywood  record  in  frugality, 
car,  he  travels  about  Hollywood 
ers  live  in  a  small  apartment. 


Talkie  Finds— How 
badly  the  microphone 
has  ravaged  Holly- 
wood may  be  esti- 
mated by  the  fact  that 
one  studio  has  let  out  fifty  of  the  seventy  players  who 
were  under  contract  before  the  talkies  came.  And  yet 
the  most  promising  finds  of  the  past  year  are  not  all 
"talkie"  actors  from  the  stage  by  any  means.  Among 
the  best  bets  I  would  list  Lewis  Ayres,  Loretta  Young, 
Stuart  Erwin,  Stanley  Smith,  Bernice  Claire,  Lola  Lane, 
Constance  Bennett,  Joan  Bennett,  Jeanette  MacDonald, 
Claudette  Colbert,  Ann  Harding,  Robert  Montgomery, 
and  that  little  enfant  terrible,  Marie  Dressier.  Two  of 
these  have  had  no  stage  training;  others  have  had  no 
more  than  many  of  the  silent  players  had  had.  Talkie 
or  no  talkie,  Hollywood  is  a  seething  revolution.  That's 
what  makes  it  exciting.  You  never  know  what  day  you 
may  be  a  Trotzky. 

The  Comic  Valentine — Stuart  Erwin  is  getting  the  rec- 
ognizing chuckles  out  of  audiences  when  he  appears, 
just  as  Jack  Oakie  did  in  his  beginning.  Stu  arrived 
in  the  world  on  Valentine's  Day  and  was  left  at  a  post- 
office  called  Squaw  Valley.  He  looked  so  much  like  Will 
Rogers,  that,  even  to  this  day,  his  folks  wonder  if  the 
stork  didn't  make  a  mistake  in  the  address.  Stu  says 
he  chose  pictures  for  a  career  because  he  realized  he  was 
dumb.     He  flopped  out  of  two  universities. 

In  his  first  stage  appearance  he  essayed  five  char- 
acters:  A  juvenile,  a  bearded  gentleman,  an  Irishman,  a 
German  and  a  Negro.  After  that  he  played  all  sorts  of 
parts,  acted  as  stage  manager  and  eventually  was  pulled 
into  pictures  by  Winnie  Sheehan.  Despite  the  fact  that 
he  is  becoming  notorious  as  a  stealer  of  star  pictures 
he  is  very  popular  among  (Continued  on  page  97) 


Photograph  by  Richee 


CHARLES  (BUDDY)  ROGERS 


59 


Photograph  by  Hurrell 


ANITA  PAGE 


60 


I'll graph  by  Hurrell 


ROD   LA  ROCQUE 


6] 


Photograph  by  Fred  R.  Archer 


VIVIENNE   SEGAL 


62 


Photograph  by  Richer 


MARLENE   DIETRICH 


63 


■HBraBBHHMHBHHMBI 


Photograph  by  Richee 


RUTH    CHATTERTON 


64 


MMUB^HWHHK-  illlWIIIIIIIIII 


Photograph  by  Elmer  Fryer 


KAY  FRANCIS 


65 


The  MONTANA  KID 

One  of  the  Greatest  Contradictions  in  Pictures  Is  Gary 
Cooper,  Who  Began  by  Being  Hollywood's  Worst  Actor 


BY  DICK  HYLAND 


On  and  off  the 
screen  Gary  Cooper 
leaves  you  guessing. 
He  talks  too  little  for 
anyone  to  learn 
much  about  him. 


H 


E'S  a  big,  rough,  tough  guy,  this  Gary  Cooper. 
He's  the  type  you'd  expect,  to  love  his  mother 
and  protect  your  sister,  this  boy  with  the  em- 
barrassed, intriguing  grin. 
He's  the  quiet  gent,  who  came  out  of  Montana  and 
caused  all  Hollywood  to  talk  about  him.  They  have  to 
talk  because  Hollywood  sees  him  around  and  yet  does 
not  know  him.     Those  ingredients  make  for  much  talk 
almost  anywhere. 

There  are  folks  who  have  known  Gary  Cooper  for 
years,  directors  who  have  handled  him  in  whole  pic- 
tures, and  have  not  heard  him  speak  over  a  hundred 
conversational  words. 

HE  is  one  of  the  greatest  contradictions  in  pictures, 
is  this  third  of  the  Three  Musketeers  of  Hollywood. 
The  reason  for  that  is  that  he  stimulates  the  imagina- 
tion.    He  and  Garbo  are  the  only  two  people  on  the 
screen   who   fit   into   anything  your  own   imagination 
creates  around  them.     If  you  want  to  see  Garbo  as  a 
sweet  and  gracious  woman,  it's  easy.     If  you  want  to 
see  her  as  a  sleek  and  sirenish  vampire,  you  can  do  that. 
Her  glimmering  personality  is  like  a  beautiful  picture, 
into  which  you  fit  your  own  ideals  and  dreams. 
Gary  Cooper  is  the  same.    He  is  the  perfect  model 
around  which  you  can  weave  anything  you  like 
and  he  will  not  interfere  with  it.    If  you  like  a 
hard,   dangerous  man,   it  is   easy  to  think  of 
Cooper  as   being  like  that.      If  you  want  a 
sweet,  embarrassed  boy,  he's  there.   The  qual- 
ity which  sets  women  dreaming  and  men 
remembering  and  longing  for  adventure 
seems  to  be  part  of  Gary. 
On  the  screen  Gary  Cooper  is  all  things 
to  all  men — and  women. 
Which  explains  his  drawing  power. 
He  is  not  a  good  actor.    He  is  not  a 
handsome  man,  in   the  generally 
accepted  sense  of  the  word.    He 
has  no  tricks  of  personality,  no 
mannerisms.    None  of  the  fin- 
ish of  Barrymore  or  the  fire 
of  John  Gilbert. 
But  he  has  more  of  every- 
thing, and  he  lacks  less, 
.  than  any  of  them. 
Off     the     screen — he 
still  leaves  you 
guessing. 


66 


Gary  Cooper  is  shy. 
He  dislikes  crowds 
and  parties.  Yet  his 
three  romances  have 
been  the  talk  of  the 
movie  capitol. 


There  again,  he  is  not  good 
looking.        Far    from    being    a 
Buddy  Rogers  in  the  matter  of 
profile    and    dark    curls.      A    tall, 
lanky    young   man,    with    a   strong 
chin  and  well-set  eyes  that  at  times 
look  clear  through  you  and  at  other 
times     seem    'incapable     of    having    a 
thought  behind  them.     There  is  a  lean- 
ness of  limb  and  of  feature  about  Gary 
Cooper  that  is  pleasing. 

But    he    talks    so    little    it    is    impossible 
to  know  much  about  him. 

XjO   small  talk  of  any  kind  has    Cooper.      He 
-L^1  either   will    not    or   cannot    do    it.       He   is    a 
first-class  grunter  if  ever  there  was  one.     Ask  him 
if  he  thinks  it  is  a  nice  day  and  he'll  grunt.     Ask  him 
how  his  pictures  are  going  and  he'll   grunt.      If  you 
talk  for  a  long  time,  he  stops  grunting  and  smiles — 
a  sort  of  pleasant,  but  not  very  enthusiastic  smile. 

As  a  matter  of  fact  he  never  says  anything  unless 
he  has  something  to  say.  Otherwise,  silence  is  good 
enough  for  him.  The  necessity  for  keeping  conversa- 
tion going  is  not  apparent  to  his  mind.  If  the  subject 
is  one  about  which  he  knows  nothing  or  is  not  inter- 
ested, he  simply  allows  it  to  slide  by  without  effort. 

Only  once  have  I  been  able  to  get  him  going. 

He  came  out  to  the  house  one  night  to  dinner.  It  was 
two  years  ago — just  after  I  had  met  him.  He  came 
early,  while  my  wife  was  still  dressing.  I'm  not  fool- 
ing when  I  say  that  before  dinner  I  felt  like  the  ancient 
Greek  orator  who  spent  hours  talking  to  the  waves  on 
the  beach. 

Finally,  long  after  the  coffee  and  just  about  the  time 
I  was  ready  to  say,  "Well,  good  night,  brother.  Dash 
along  and  I  hope  you  have  not  worn  yourself  out  grunt- 
ing at  me,"  I  happened  to  mention  that  I  had  spent 
some  time  as  a  forest  ranger.  That  I  knew  a  bit  from 
a  halter  and  how  to  hobble  a  horse.  That  long  days 
spent  in  the  saddle  in  the  California  mountains  were 
among  the  most  perfect  a  man  could  experience. 

It  was  the  "open  sesame"  to  Gary  Cooper.  He  cut 
loose  and  talked  for  an  hour  about  horses,  about  the 
range,  about  saddles,  about  cattle  and  the  nights  under 
the  stars.  He  made  me  smell  the  campfire  again  and 
feel  the  rain  beating  into  my  face  as  I  rode  into  it. 
The  peace  that  comes  when  you  are  alone  in  the 
mountains  or  on  the  plains  with  a  good  horse  under 
you  was  mine  again.  Gary  Cooper  knew  his  stuff  and 
could  talk  it  well. 

There  was  emotion  in  his  voice,  poetry  in  his  words, 
and  fire  in  his  eyes. 

I  give  that  example  in  refutation  of  the  rumor  which 
one  sometimes  encounters  around  Hollywood  that  Gary 
Cooper  is  dumb.  He  isn't.  He  just  will  not  be  a  wise- 
cracker.  Which  is  a  relief  at  times.  His  sense  of 
humor  is  typically  Western — dry,  slow,  and  chiefly  for 


his  own  amuse- 
ment    and     not 
for  the  entertain- 
ment of  others. 

T  DON'T   know    that 
A    you  would  call  him 
anti-social.     But  he  does 
not   care   for  parties   and 
crowds.     When  you  do  see 
him    out    he    usually    stands, 
tall  and  grave,  watching  oth- 
ers mill  about.    Or  he  finds  some 
one    person    who    interests    him 
and  spends  his   time   in  a  corner. 
I  remember  seeing  him' sit  all  one 
Sunday   afternoon    on   the   end   of  a 
diving-board  talking  to  Evelyn  Brent, 
while    fifty    other    people    swam,    played 
tennis  and  talked  in  groups  at  a  garden 
party. 

Partly,  he  is  shy.    Very  easily  embarrassed 
and  self-conscious.    Partly,  he  thinks  that  all 
the  social  chatter  and  laughter  of  people  is  a 
waste  of  time  and  energy. 

Gary  has   needed  all  his  energy  since  he  first 
came  to  Hollywood. 


67 


Gary  Cooper  with  his  father  and  mother,  Judge  and  Mrs.  Henry  Cooper.     Gary  was  born  in  Montana  and  went  to 

Hollywood  to  seek  his  fortune  as  a  commercial  artist. 


First  of  all,  he  has  had  three  rather  hectic  love 
affairs  with  three  very  dynamic  young  women. 

Clara  Bow  saw  him  first,  when  he  played  with  her 
in  "Children  of  Divorce."  It  was  a  mad  young  romance 
and  nearly  cost  Gary  his  chance  in  pictures.  For  it 
swept  him  completely  off  his  feet: — this  quiet,  silent 
cowboy  from  Montana — and  he  forgot  all  about  his 
career  and  his  work. 

Then  for  a  long  time  everyone  thought  he  was  going 
to  marry  Evelyn  Brent.  You've  seen  Betty  Brent  on  the 
screen.  A  vivid,  forceful  girl,  with  a  wealth  of  emo- 
tion and  a  keen  brain. 

Now  Lupe  Velez,  the  wild-cat  from  Mexico.  It  is 
funny  to  watch  Lupe  and  Gary  together — like  seeing 
a  small  typhoon  playing  around  a  big,  gray  battleship, 
or  a  Pekinese  pup  annoying  a  Great  Dane.  Gary 
adores  her,  accepts  all  her  emotionalism,  her  tempestu- 
ous outbursts,  her  wild  mirth — with  his  slow,  shy 
smile.  When  she  starts  kissing  him  in  public — at  the 
Montmartre  at  lunch  or  some  such  place — he  takes  it 
with  a  grin,  embarrassed  but  unconcerned. 

THE  second  thing  for  which  he  has  needed  his  energy 
is  his  work. 

Because  Gary  Cooper  is  not  a  natural-born  actor. 

No  man  who  ever  succeeded  before  the  camera  was 
so  terrible  to  begin  with.  He  was  the  world's  worst 
actor  and  the  hardest  man  to  direct  who  ever  stepped 
on  a  stage. 

If  Gary  Cooper  owes  his  success  to  anyone,  it  is  to 
Frank  Lloyd,  one  of  the  best  directors  in  pictures. 

Frank  directed  "Children  of  Divorce,"  which  was 
Gary's  first  real  picture.  Before  that  he  had  appeared — 
by  chance- — as  Abe  Lee  in  "The  Winning  of  Barbara 
Worth".  Then  Paramount,  desperate  for  a  leading 
man,  as  every  studio  was  at  that  time,  cast  him  for  a 


young  polo  player  in  a  picture  under  Frank's  direction. 

It  was  awful.  In  fact,  it  was  plain  murder.  Frank 
worked  until  he  was  exhausted.  It  took  him  three 
clays  to  get  one  scene  of  Gary  opening  a  letter  and 
looking  surprised.  Twice  Paramount  decided  to  take 
him  out  of  the  part,  and  twice  Frank  Lloyd  fought  to 
keep  him  in. 

"He  can't  act  yet,"  he  said,  "but  he's  got  something. 
I'll   manage   with   him.   Let   him   alone   for   a   while." 

p  INALLY,  after  a  terrific  struggle,  Frank  Lloyd 
pulled  him  through. 

And  the  public  went  crazy  about  him.  They  liked 
that  awkwardness,  that  shy  naturalness  that  was  not 
acting.  They  liked  the  tall,  strong  young  man  who 
actually  looked   like  a  man  and  not  an  actor. 

Gary  Cooper,  to  his  own  and  everyone  else's  amaze- 
ment, was  OVER. 

He  is  still  difficult  to  direct. 

He  did  not  want  to  be  a  movie  actor!  He  wanted  to 
be  a  commercial  artist.  When  he  came  down  to  Los 
Angeles  from  Montana  it  was  for  that  purpose.  But  he 
flopped,  finally  could  not  get  a  job. 

To  keep  from  starving  to  death,  and  because  he  knew 
how  to  ride,  he  got  a  job  as  an  extra  in  Westerns.  He 
went  to  Nevada  with  the  company  making  "The  Win- 
ning of  Barbara  Worth"  merely  as  a  cowboy  extra. 
But  the  man  who  was  to  have  played  the  part  of  Abe 
Lee  took  sick  and  Gary  was  shoved  into  it.  Merely 
because  he  looked  nearest  the  part  and  they  could  not 
wait  until  an  actor  came  from  Los  Angeles. 

Unless  all  signs  go  wrong,  Gary  Cooper  is  going  to 
come  closer  to  taking  Wally  Reid's  place  than  anyone 
else.  Which  would  probably  have  pleased  Wally  be- 
cause he  would  have  liked  Gary  Cooper  a  lot. 

But  then — who  wouldn't?    Or  doesn't? 


IN  NEXT  MONTH'S  NEW  MOVIE 

ADELA  ROGERS  ST.  JOHNS 

will  tell  the  brave  and  dramatic  story  of  Anna  Q.  Nilsson,  crippled  by  an  accident  and 
fighting  1o  recover  her  place  in  moviedom 


68 


Photogr.iph  by  Gene  Robert  Richcc 

JEAN  ARTHUR 

Poses  as  Sir  James  Barrie's  immortal  Peter  Pan,  the  boy  who  wouldn't  grow  up. 


60 


Gloria  Swanson  (above)  in  a  suit  of  black 
broadtail,  with  ivory  transparent  velvet 
waist.  A  silver  fox  cuff  for  one  sleeve 
only  lends  a  smart  touch  to  the  ensemble. 
A  close-fitting  hat  is  worn  with  this 
original  costume. 


Gloria  Swanson  demonstrates  the  correct 
thing  for  sports  aboard  ship.  She  is 
wearing  a  blue  floccallic  sports  suit 
trimmed  with  harmonizing  suede.  Her 
blue  suede  beret  matches  the  suit.  A 
white  pique  blouse  with  turned  down 
collar  is  worn  with  this  costume. 


70 


The  Famous  Star 
Poses  in  the 
Newest  Modes 


SPECIAL    PHOTOGRAPHS 
BY  RUSSELL   BALL 


Miss  Swanson  demonstrates 
the  newest  and  smartest  in 
dinner  dresses.  The  gown  is 
of  nude  satin,  in  which  both 
sides  of  the  material  are  used. 
A  circular  cape  collar  falls 
over  one  shoulder  to  form  a 
fetching   train. 


^— 


GLORIA'S  1930 


Miss  Swanson  (at  the  left)  is  wearing  an  attrac- 
tive afternoon  suit.  It  is  of  French  leda,  trimmed 
with  leopard.  With  it  she  wears  a  beige 
satin  blouse  and  a  leopard  trimmed  felt  hat. 


i 


A  smart  street  ensemble  is  shown  by  Miss 
Swanson  at  the  right.  It  is  made  of  black 
flat  crepe  and  gray  tribor,  trimmed  with 
astrakhan.  With  it  Miss  Swanson  wears 
a  close-fitting  black  felt  hat. 


72 


FASHION  REVUE 


An  evening  gown  of  pale  green  crepe  mogul 
is  revealed  by  Miss  Swanson  at  the  right.  This 
is  embroidered  along  the  neckline  with  fine 
stones.  With  this  costume  Miss  Swanson  wears 
three  bracelets  of  original  design  just  above 
the  elbow.      Her  earrings  match. 


At  the  left  Miss  Swanson  is  seen  in  a 
transparent  black  velvet  tea  gown  with 
sleeves  forming  large  circular  flounces  at 
the  wrists.  These  are  trimmed  with  rows 
of  white  gardenias 


73 


HOW  HOLLYWOOD 
ENTERTAINS 

Mrs.  George   Fitzmaurice  Gives  a  Shower  for  the  Movie  Colony's 
Bride,  Bebe  Daniels,  and   Entertains  at  a   Buffet  Dinner 


By  EVELYN  GRAY 

Special   Photographs  by  Stagg 


THERE  is  no  more  delightful  occasion  for  enter- 
taining  than   to   honor   some   prospective   bride 
with  a  shower.     There  are  a  vast  number  of 
showers  which  can  be  arranged,  from  little  use- 
ful articles  which  every  young  wife  is  going  to  need  to 
the  finest  gifts  for  her  trousseau. 

Bebe  Daniels  was  honored  before  her  wedding  to 
Ben  Lyon  by  several  showers,  given  by  her  intimate 
friends  and  members  of  her  bridal  party.  Just  before 
the  ceremony  Mrs.  George  Fitzmaurice  entertained 
with  one  of  the  most  delightful  parties  ever  given  in 
Hollywood.  The  scene  was  the  beautiful  English  home 
of  the  Fitzmaurices  in  Beverly  Hills. 

Seventy-five  of  Bebe's  feminine  friends  were  invited 
for   an   eight-o'clock   din- 


wood's  most  charming  hostesses,  used  great  taste  in 
her  decorations.  A  big  bay  window  in  the  drawing- 
room  was  filled  with  baskets  of  white  flowers,  Easter 
lilies  and  sprays  of  white  blossoms  being  the  motif. 
Here  she  arranged  an  enormous  clothes  basket,  cov- 
ered with  frilly  white  paper,  from  which  the  beau- 
tifully wrapped  presents  appeared  to  spill  in  gay  pro- 
fusion, Each  guest  as  she  arrived  deposited  her 
package,  and  Bebe  had  the  delightful  suspense  of 
seeing  this  heap  of  treasures  awaiting  her  hand  when 
dinner  was  over. 

The  dinner  itself  was  served  in  buffet  style.     Many 
small  card  tables  had  been  set  up  in  the  dining-room, 
the  big  sun  porch  and  the  small  breakfast  room,  cov- 
ered   with    white    cloths 


ner.  The  men  were  asked 
to  come  in  around  ten 
o'clock. 


M 


RS.   FITZMAURICE, 
who  is  one  of  Holly- 


Mrs.  George  Fitzmaurice  puts  the  finishing  touches  to  the 
gardenia  decorations  of  a  table.  The  centerpiece  shows  a 
doll  in  a  cage  with  a  toy  lion,  the  doll  standing  with  tiny  foot 
planted  in  the  lion's  neck.  The  dinner  itself  was  served  in 
buffet  style. 


and  with  the  silver  laid. 
The  guests  served  them- 
selves and  then  found 
their  special  friends  and 
the  smaller  tables  ar- 
ranged around  the  rooms. 


74 


._ 


*~pHE  menu  was  a  particu- 
*■  larly  delightful  one,  as 
the  Fitzmaurices  are  famous 
for  a  dish  known  in  the  Hol- 
lywood circle  as  "Fitzmau- 
rice  hash."  We  begged  the 
recipe  from  Fitz,  who 
brought  it  with  him  from 
Italy    after    a    trip    abroad 

some  years  ago,  and  it  is  given  in  detail  at  the  end  of 
this  article.  Besides  big  chafing  dishes  and  casseroles 
of  this  famous  dish  were  platters  of  turkey,  roasted  po- 
tatoes, and  new  peas,  and  two  large  platters  of  a  mar- 
velous vegetable  salad  with  French  dressing. 

In  the  center  of  the  table  was  a  special. decoration 
arranged  by  Mrs.  Fitzmaurice,  which  caused  much 
laughter  among  the  guests.  In  a  white  bird  cage  was  a 
woolly  lion,  such  as  kiddies  receive  on  Christmas.  Above 
the  prostrate  figure  of  the  lion  was  an  adorable  doll, 
in  a  wedding  costume,  with  her  small  foot  firmly  planted 
on  the  lion's  neck. 

The  dessert,  served  at  the  tables,  was  ice-cream  made 
in  a  lion  mold,  and  in  a  mold  of  a  small  book,  with  the 
names  "Bebe-Ben"  written  in  colored  ice-cream.  Coffee 
and  mints  were  served  following  the  dessert. 

AS  soon  as  dinner  was  over — during  the  meal  a  four- 
■^  piece  orchestra  played  softly  in  a  curtained  alcove, 
using  as  their  chief  selections  the  favorite  songs  from 
Miss  Daniels'  screen  success,  "Rio  Rita" — Miss  Daniels 
took  her  seat  beside  the  gifts  and  the  girls  gathered 
about  her,  sitting  on  the  floor.  She  opened  the  presents 
among  her  friends  and  received  many  congratulations 
on  the  lovely  additions  to  her  bridal  trousseau  and  the 
furnishings  for  her  new  home. 

Mrs.  Fitzmaurice's  gift  was  the  wedding  nightgown 
of  white  satin  and  D'Alencon  lace,  copied  exactly  from 
the  one  made  in  Paris  for  the  trousseau  of  Princess 


A  few  of  the  girls  and  the  gifts  at  Mrs.  Fitzmaurice's 
party.  Seated  :  Carmen  Pantages  and  Colleen  Moore. 
Standing,  left  to  right:  Lou  Rawson,  Eileen  Percy,  Mrs. 
Fitzmaurice,  Julanne  Johnson  and  Mrs.  Laurence  Wheat. 
Sixty  girls  attended  the  shower.  You  can  read  all 
about  their  costumes  in  this  article. 


Marie-Josef  of  Belgium. 
Miss  Daniels  wore  a  din- 
ner gown  of  soft  green  chif- 
fon, the  figure  outlined  with 
delicate  ruffles  of  the  same 
material.  A  corsage  of  orchids 
was   worn  on   the  shoulder. 
The  hostess,  Mrs.  Fitzmau- 
rice, wore  a  bouffant  dress 
of  sheer  white  organdy,  very  tight  at  the  waist  and 
with  a  full,  long  skirt,  and  a  tiny  bolero  jacket  of  blue 
embroidery. 

ZITHERS  present  were: 

"   Colleen  Moore,  in  a  dress  of  print  chiffon,  made 

with  a  long  skirt  of  plaited  ruffles. 

Elsie  Janis.  White  taffeta,  with  a  broad  hem  of  black 
around  the  bottom  and  a  neckline  ornamented  with  rose 
and  gold. 

Mrs.  Richard  Barthelmess.  A  tight-fitting  gown  of 
silver  and  green  metallic  cloth,  with  a  wide  bertha 
around  the  neckline. 

Dolores  del  Rio.  Chartreuse  green  velvet,  with  a 
fairly  short  skirtline,  around  which  fell  long  panels 
touching  the  floor.  With  this  she  wore  emerald  rings 
and  earrings,  and  orchids. 

Lilyan  Tashman.  A  tight-fitting  gown  of  black  chif- 
fon, cut  to  the  waistline  in  the  back  and  with  invisible 
shoulder  straps  of  flesh  chiffon.  The  black  chiffon  was 
printed  from  the  knees  down  in  very  large  convention- 
alized roses. 

Carmen  Pantages.  A  green  and  mauve  print,  softly 
draped  and  with  a  little  winged  cape  over  the  shoulders. 

Betty  Compson.  White  taffeta,  belted  exactly  at  the 
waistline  and  covered  with  tiny  gold  stars. 

Billie  Dove.  All  black  chiffon,  with  a  simple  bodice 
belted  at  the  waist,  and  a  long  skirt,  ending  in  a  full, 
ruffled  flounce  below  tho  knees.  (Contifiued  on  page  109) 

75 


76 


At  the  right,  Miss  Bow 
standing  in  the  arched 
doorway  leading  to  the 
dressing  room.  Rose  bro- 
caded curtains,  edged  with 
chiffon  ruffles  and  caught 
back  with  velvet  bands, 
drape  the  entrance.  The 
wardrobe  is  concealed  by 
sliding  doors.  The  carpet- 
ing is  of  a  very  pale  and 
warm  shade  of  mulberry. 


SPECIAL  PHOTOGRAPHS 
By  DON   ENGLISH 


The  Bow  bedroom  is  furnished  in  old  ivory  enamel.  The 
bed  is  raised  on  a  dais  and  covered  with  a  throw  of  ruck 
rose  brocade.  Besides  the  bed,  the  boudoir  furniture 
includes  a  chest  of  drawers,  a  dressing  table  and  a  writing 
desk,  all  in  old  ivory.  The  drapes  are  of  antique  rose 
brocade,  but  the  window  curtains  are  of  lightly  ruffled 
wisps  of  maize  chiffon,  bringing  a  splash  of  eternal  sun- 
shine into  the  room.  An  imported  crystal  chandelier 
hangs  from  the  center  ceiling. 


MOVIE 

BOUDOIRS 


IV.       CLARA  BOW 


77 


1 


11 


The  Bow  boudoir.  The  star's 
bed  is  devoid  of  footboard  or 
headboard,  but  is  richly  draped 
and  covered  with  generous  yards 
of  brocade.  Pale  rose  chiffon, 
caught  into  folds  and  pleats, 
forms  the  inner  portion  of  the 
overhead  draping. 


Miss  Bow's  dressing  table  is  placed  beneath  a 
window  to  permit  unobstructed  lighting  for  the 
intricate  details  of  make-up.  This  table  is  draped 
with  the  same  antique  rose  brocade  that  covers 
the  bed  and  curtains  the  doorway.  The  top  is 
covered  with  glass,  over  a  yellow  silk  ground. 
A  myriad  of  perfume  bottles  are  arranged  on 
the  table,  crystal  and  onyx  vying  with  jade  and 
different  colored  quartz. 


■TWkgkBBBk 


At  the  left ,  Miss  Bow's  Chinese  room, 
designed  for  relaxation  and  rest.  The 
walls  are  covered  with  a  black  and 
gold  material,  displaying  Chinese 
scenes.  One  entire  corner  is  devot- 
ed to  a  huge  divan  that  is  built  into 
the  walls.  It  is  covered  with  black 
and  decorated  with  pyramids  of  red 
and  gold  pillows.  Red  and  gold 
brocade  curtains  cover  the  French 
windows.  A  black  carpet  and  Ori- 
ental rugs  conceal  the  floor.  A  gold 
Buddha  sits  on  a  throne  at  one  side. 


78 


Phillips   Holmes,   son  of  the   comedian,  Taylor   Holmes,   came  into   his   own   in    Nancy 
Carroll's  "The  Devil's  Holiday."     He   scored   a   real  hit.     You   will   next  see   him   with 

Cyril  Maude  in  "Grumpy." 


Photograph  by  Otto  Dyar 


PHILLIPS 
HOLMES 


79 


In  these  specially  posed  photographs,  Alice  White  forgets  her  flapper  past  and 
tries  to  capture  the  mood  of  that  Victorian  Alice  who  dreamed  a  magic  dream. 
Above  you  see  her  with  the  imperious  Queen  of  Hearts  who  was  one  of  the 
creatures  who  "ordered  one  about  so."  Alice  is  crouched  under  the  fantastic 
mushroom,  a  taste  of  which  made  little  girls  grow  short  or  tall  at  will.  And  below 
you  find  her  in  Hollywood's  version  of  the  Lewis  Carroll  garden. 


80 


Do  you  remember  the  card  gardeners  who 
painted  the  roses  in  order  to  placate  the 
angry  Queen?  Perhaps  these  photographs 
are  in  the  nature  of  a  dress  rehearsal  and 
Miss  White  will  surprise  the  public  by  bring- 
ing the  "child  with  the  clear  untroubled 
brow"  to  the  screen. 


Alice  in 
Wonderland 


81 


rzi 


DOROTHY 
JORDAN 


Photograph  by  Hurrell 

Miss  Jordan  is  a  Tennessee  girl.  After  a  few  appearances  in  the  choruses  of  Broadway 
musical  comedies,  Miss  Jordan  went  to  Hollywood.  Her  first  chance  came  in  the  Pickford- 
Fairbanks  film,  "The  Taming  of  the  Shrew."  After  that,  she  became  Ramon  Novarro's 
leading  woman  in  three  films,  "  Devil  May  Care,"  "Gay  Madrid,"  and  "The  Singer  of 
Seville."     Miss    Jordan    is    one    of    the    most    promising    of    the    Hollywood    youngsters. 


82 


REVIEWS:  By  Frederick  James  Smith 


THE  DEVIL'S  HOLIDAY 

Paramount 

Directed  by  Edmund  Goulding. 
The  cast:  Hallie  Hobart,  Nancy 
Carroll;  David  Stone,  Phillips 
Holmes;  Mark  Stone,  James 
Kirkwood;  Ezra  Stone,  Hobart 
Bosworth;  Charlie  Thome,  Ned 
Sparks ;  Monkey  McConnell, 
Morgan  Farley;  Kent  Cart;  Jed 
Prouty;  Dr.  Reynolds,  Paul 
Lukas ;  Ethel,  Zasu  Pitts ;  Fred- 
die, Morton  Downey;  Hammond, 
Guy  Oliver;  Aunt  Betty,  Jessie 
Pringle. 


THE  TEXAN— Paramount 

Directed  by  John  Cromwell. 
The  cast:  The  Llano  Kid,  Gary 
Cooper;  Consuelo,  Fay  Wray; 
Senora  Ibarra,  Emma  Dunn; 
Thacker,  Oscar  Apfel;  John 
Brown,  James  Marcus;  Nick 
Ibarra,  Donald  Reed;  The 
Duenna,  Soledad  Jimenez ; 
Mary,  Veda  Buckland;  Pas- 
quale,  Cesar  Vanoni;  Henry, 
Edwin  J.  Brady;  Sixto,  En- 
rique Acosta;  Cabman,  Romu- 
aldo  Tirado. 


Edmund  Goulding,  who  wrote  and  directed  this, 
has  a  sure  screen  touch.  He  brought  back  Gloria 
Swanson  with  "The  Trespasser."  Here  he  has  lifted 
Nancy  Carroll  from  mere  flapper  roles  to  real  heights 
of  sincerity.  This  is  the  story  of  the  son  of  a  rich 
wheat  farmer  and  a  gold-digging  Chicago  manicurist, 
their  marriage  and  what  came  of  it.  The  regenera- 
tion of  the  flashy,  shallow  Hallie  is  superbly  depicted 
by  Miss  Carroll.  And  Phillips  Holmes  gives  a  splen- 
did performance  of  the  simple  lad  from  the  wheat 
fields.  This  film  is  'way  above  the  average,  possessing 
sincerity  and  force.  It  is  a  picture  you  should  surely 
see. 

Best — Nancy   Carroll 


Since  the  success  of  "The  Virginian,"  it  is  evident 
that  Gary  Cooper  must  make  other  geographic  sequels. 
Here  he  is  a  Texas  cowpuncher  who  falls  in  with  a 
crook's  efforts  to  fleece  an  old  woman  in  South  Amer- 
ica. The  woman  has  offered  a  big  reward  for  her  lost 
son,  who  ran  away  at  the  age  of  ten.  The  scheme 
calls  for  Gary  to  pose  as  the  son  and  split  the  reward 
with  the  crook.  Down  in  Latin  America,  the  Llano 
Kid  finds  he  can't  go  through  with  it.  He's  fallen  in 
love  with  his  "cousin,"  played  by  Fay  Wray.  You  will 
like  Gary,  who  has  never  been  more  sincere,  and  you 
will  like  the  picture,  too. 

Best — Gary  Cooper 


THE  BIG  POND 

Paramount 

Directed  by  Hobart  Henley. 
The  cast :  Pierre,  Maurice 
Chevalier ;  Barbara  Billings, 
Claudette  Colbert ;  Ronnie, 
Frank  Lyon;  Mr.  Billings, 
George  Barbier;  Mrs.  Billings, 
Marion  Ballou;  Pat  O'Day,  Nat 
Pendleton ;  Toinette,  Andree 
Corday;  Jennie,  Elaine  Koch. 


The  process  of  flattening  Maurice  Chevalier  into  the 
conventional  movie  mould  has  started.  His  newest 
film,  "The  Big  Pond,"  is  the  sort  of  thing  Richard  Dix 
once  acted.  An  American  girl,  while  abroad,  falls  in 
love  with  a  Frenchman.  Her  father,  hoping  to  cure 
her,  brings  the  Parisian  back  to  America  and  puts  him 
to  work  in  his  factory.  But  the  foreigner  makes  good 
and  becomes  a  big  success.  Chevalier  is  not  at  his  best 
as  a  go-getter.  He  is  too  expert  an  actor  to  fail,  how- 
ever, and  keeps  "The  Big  Pond"  above  water.  Still, 
the  film  is  pretty  poor.  The  charming  Claudette  Col- 
bert is  lost  in  the  proceedings,  too. 

Best — Maurice  Chevalier 


BRIDE  OF  THE  REGI- 
MENT—Firsf  National 

Directed  by  John  Francis  Dil- 
lon. The  cast:  Countess  Anna- 
Marie,  Vivienne  Segal;  Count 
Adrian  Beltrami,  Allan  Prior; 
Colonel  Vultow,  Walter  Pid- 
geon;  Teresa,  Louise  Fazenda; 
Sophie,  Myrna  Loy;  Sprotti, 
Lupino  Lane;  Tangy,  Ford 
Sterling;  Sgt.  Dostal,  Harry 
Cording;  Capt.  Stogan,  Claude 
Fleming;  The  Prince,  Herbert 
Clark. 


This  was  once  a  stage  operetta  called  "The  Lady  in 
Ermine."  A  picturesque  background:  Northern  Italy 
near  the  border  years  ago  when  Austrian  hussars  were 
putting  down  a  rebellion.  Count  Adrian  Beltrami  has 
to  make  his  escape  on  his  wedding  night.  It  falls  to 
his  bride,  the  Countess  Anna-Marie,  to  entertain  the 
ruthless  invaders.  Their  leader  is  a  dashing  colonel 
who  has  few  scruples.  In  this  role  Walter  Pidgeon, 
tall  and  striking,  stands  out.  But  the  star  is  Vivienne 
Segal,  Broadway  luminary,  who  does  very  well  with 
the  role  of  the  countess  bride.  Myrna  Loy  is  excel- 
lent, too. 

Best — Vivienne  Segal 


THE  ARIZONA  KID— Fox 

Directed  by  Alfred  Santell. 
The  cast:  The  Arizona  %Kid, 
Warner  Baxter;  Lorita,  Mona 
Maris;  Virginia  Hoyt,  Carol 
Lombard;  Nick  Hoyt,  Theodor 
Von  Eltz;  Snakebite  Pete,  Ar- 
thur Stone;  Pulga,  Mrs.  Jime- 
nez; Sheriff  Andrews,  Walter 
P.  Lewis;  The  Hoboken  Hooker, 
Jack  Herrick;  His  Manager, 
Wilfred  Lucas;  Bartender  Bill, 
Hank  Mann;  Molly,  DeSacia 
Mooers. 


Continuing  the  adventures  of  the  Cisco  Kid,  the 
dashing,  singing  hero  of  ".In  Old  Arizona."  Warner 
Baxter  is  again  the  guitar-strumming,  roistering  des- 
perado. No,  the  sequel  isn't  as  good  as  "In  Old  Ari- 
zona." Sequels  rarely  hit  the  fine  zest  of  their  prede- 
cessors. Hoofbeats  again  clatter  across  the  mesa. 
Stage  coaches  again  creak  and  thunder  through  lonely 
passes.  And  the  Cisco  Kid  rides  quite  as  fearlessly. 
It  is  a  pleasant  enough  yarn,  of  the  Cisco  Kid,  his  love 
■for  a  faithless  blonde  (Carol  Lombard),  and  how  the 
fiery-tempered  Lorita  (Mona  Maris)  saves  him.  Bax- 
ter is  ingratiating. 

Best — Warner   Baxter 


ALL  YOU  WANT  TO  KNOW 


Metro-Goldwyn  happily  borrowed  Ruth  Chatterton 
from  Paramount  to  play  the  shrewdly  understanding 
actress  heroine  of  what  was  once  a  stage  play  called 
"The  High  Road."  This  is  one  of  those  swanky 
studies  of  British  life.  Drawing-room  dramas,  they 
used  to  call  them  in  the  old  stage  days.  Miss  Chatter- 
ton  is  adroit  and  sure  as  the  actress  who  sends  the  man 
she  loves  back  to  the  woman  he  has  loved.  And  she  is 
ably  aided  by  Basil  Rathbone  as  the  man.  This  is 
tastefully  directed  and  acted.  It  will  hold  you  mildly, 
unless  you  buck  at  folks  who  hide  their  breaking 
hearts  behind  a  teacup.  The  talkies,  by  the  way,  have 
been  going  in  for  this  polite  drama  pretty  heavily. 
Best — Ruth   Chatterton 


THE  LADY  OF  SCANDAL 
M-G-M 

Directed  by  Sidney  Franklin. 
The  cast:  Elsie,  Ruth  Chatter- 
ton; Edward,  Basil  Rathbone; 
John,  Ralph  Forbes;  Lady 
Trench,  Nance  O'Neil;  Lord 
Trench,  Frederick  Kerr;  Lord 
Crayle,  Herbert  Bunston;  Sir 
Reginald,  Cyril  Chadwick;  Lady 
Minster,  Ellie  Ellsler;  Hilary, 
Robert  Bolder;  Alice,  Moon 
Carroll  ;  Ernest,  Mackenzie 
Ward;  Morton,  Edgar  Norton. 


Just  another  milestone  in  the  wrecking  of  a  bril- 
liant film  career.  Clara  Bow,  who  can  troop  with  the 
best  of  them  and  who  has  personality,  is  weighted 
down  with  a  yarn  that  is  both  dull  and  dumb.  Clara 
is  the  pert  soda  fountain  attendant  with  a  sweetheart 
on  every  ship  of  the  Pacific  fleet.  She  flirts  with  'em 
all  until  Gunner  McCoy  appears — and  then  it's  all 
over.  Clara  cries  and  sings — but  she  can  do  some- 
thing far  better  than  this.  We  refer  you  to  Herb 
Howe's  plea  for  Clara  on  another  page  of  this  issue. 
Fredric  March  plays  Gunner  McCoy,  the  target  prac- 
tice hope  of  the  squadron.  Won't  somebody  do  some- 
thing for  our  Clara? 
Best — Clara   Bow 


TRUE  TO  THE  NAVY 
Paramount 

Directed  by  Frank  Tuttle. 
The  cast:  Ruby  Nolan,  Clara 
Bow;  Gunner  McCoy,  Fredric 
March;  Solomon  Bimberg,  Har- 
ry Green;  Eddie,  Rex  Bell; 
Michael,  Eddie  Fetherston;  Al- 
bert, Eddie  Dunn;  Peewee,  Ray 
Cooke;  Artie,  Harry  Sweet; 
Maizie,  Adele  Windsor;  Grogan, 
Sam  Hardy;  Manager  Dance 
Hall,  Jed  Prouty. 


"The  Silent  Enemy"  is  hunger.  This  is  a  record  of 
primitive  Indian  life,  a  saga  of  the  North  American 
aboriginals.  Two  explorers  spent  two  years  in  North- 
ern Ontario,  studying  the  ways  of  the  redskin,  sharing 
his  hardships  and  persuading  him  to  take  part  in  a 
mimic  representation  of  his  life  as  it  was.  The  flavor 
of  James  Fenimore  Cooper  is  somehow  caught  but  the 
naive  and  simple  charm  of  "Nanook"  and  "Moana"  is 
absent.  "The  Silent  Enemy"  is  a  tribal  panorama  of 
brave  Chetoga  and  his  Ojibway  tribesmen,  of  the 
squaws  and  the  children.  There  is  an  exciting  caribou 
stampede.  This  has  synchronized  Indian  music  but 
no  dialogue. 
Best — Chief  Long  Lance 


THE  SILENT  ENEMY 
Paramount 

Directed  by  William  Douglas 
Burden  and  William  C.  Chanler. 
The  cast:  Chetoga,  Tribe  Lead- 
er, Chief  Yellow  Robe;  Baluk, 
the  Mighty  Hunter,  Chief  Long 
Lance;  Dagwan,  the  Medicine 
Man,  Chief  Akawansh;  Neewa, 
Chetoga's  Daughter,  Spotted 
Elk;  Cheeka,  Chetoga's  Son, 
Cheeka. 


Of  course,  you  liked  Will  Rogers  in  his  comedy,  "So 
This  Is  Paris."  Here's  the  inevitable  sequel  which 
carries  America's  unofficial  ambassador  to  England. 
It  isn't  nearly  as  good  as  its  predecessor.  There's  no 
Fifi  Dorsay.  But  it  is  amusing  stuff,  this  comedy  of 
an  American  family  doing  Europe.  Son  falls  in  love 
with  the  daughter  of  a  British  lord  and  Hiram  Draper 
of  Oklahoma  (Will  Rogers)  has  to  make  the  best  of 
it,  despite  his  hatred  of  all  things  English.  There's  a 
hilarious  sequence  when  the  dazed  Hiram  attends  a 
British  shoot  as  the  guest  of  the  lord.  Will  Rogers 
seems  to  us  to  be  rather  labored  in  this  comedy.  His 
homely  comedy  is  getting  a  little  thin. 
Best— Will  Rogers 


SO  THIS   IS  LONDON 
Fox 

Directed  by  John  Blystone. 
The  cast:  Hiram  Draper,  Will 
Rogers;  Mrs.  Hiram  Draper, 
Irene  Rich ;  Junior  Draper, 
Frank  Albertson ;  Elinor  Worth- 
ing, Maureen  O 'Sullivan;  Lord 
Percy  Worthing,  Lumsden 
Hare;  Lady  Worthing,  Mary 
Forbes;  Alfred  Honeycutt, 
Bramwell  Fletcher;  Lady  Amy 
Ducksworth,  Dorothy  Christy; 
Martha,  Martha  Lee  Sparks. 


Barbara  Stanwyck,  who  didn't  score  at  her  movie 
debut  in  "The  Locked  Door,"  hits  the  gong  hard  in  this 
story,  which  was  produced  as  a  stage  play,  called 
"Ladies  of  the  Evening,"  by  David  Belasco.  It's  all 
about  gold  diggers  and  their  victims,  wild  studio  par- 
ties and  tawdry  penthouse  orgies.  It's  too  untamed 
for  little  Willie.  Kay  Arnold  is  a  typical  gold  digger 
with  a  library  consisting  of  two  volumes — the  tele- 
phone book  and  Bradstreet's- — until  she  meets  a  nice 
young  artist.  Then  her  hard-boiled  veneer  drops  away 
■ — and  she's  quite  another  person.  Miss  Stanwyck 
makes  the  part  both  sincere  and  believable.  She's 
delightful. 
Best — Barbara  Stanwyck 


LADIES  OF  LEISURE 

Columbia 

Directed  by  Frank  Capra. 
The.  cast:  Kay  Arnold,  Bar- 
bara Stanwyck;  Bill  Standish, 
Lowell  Sherman ;  Jerry  Strange, 
Ralph  Graves;  Dot  Lamar, 
Marie  Prevost;  Clair,  Juliette 
Compton;  Mr.  Strange,  George 
Fawcett;  Charlie,  Johnnie  Wal- 
ter ;  Mrs.  Strange,  Nance 
O'Neil. 


ABOUT  THE    NEW   PICTURES 


THE 


FLORODORA 
M-G-M 


GIRL 


Directed  by  Harry  Beaumont. 
The  cast:  Daisy,  Marion  Da- 
vies;  Jack,  Lawrence  Gray;  De- 
boer,  Walter  Catlett;  Heming- 
way, Louis  John  Bartels;  Fan- 
ny, Ilka  Chase;  Maud,  Vivian 
Oakland;  Old  Man  Dell,  Jed 
Prouty;  Rumblesham,  Claud  Al- 
lister;  Fontaine,  Sam  Hardy; 
Mrs.  Vibart,  Nance  O'Neil; 
Commodore,  Robert  Bolder  ; 
Constance,  Jane  Keithely. 


NEW    MOVIETONE    FOL- 
LIES OF  1930— Fox 

Directed  by  Benjamin  Stoloff. 
The  cast:  Axel  Svenson,  El 
Brendel;  Vera  Fontaine,  Mar- 
jorie  White;  George  Randall, 
Frank  Richardson;  Gloria  De 
Witt,  Noel  Francis;  Conrad 
Sterling,  William  Collier,  Jr.; 
Mary  Mason,  Miriam  Seegar; 
Marvin  Kingsley;  Huntley  Gor- 
don; Lee  Hubert,  Paul  Nichol- 
son; Maid,  Yola  D'Arvil;  Door- 
man, J.  M.  Kerrigan. 


The  Mauve  Decade — that  era  of  mutton  sleeves, 
bicycles  built  for  two  and  super-modest  bathing  suits 
— comes  in  for  a  lot  of  spoofing  in  this  comedy. 
Marion  Davies  plays  Daisy,  a  guileless  member  of  the 
famous  Florodora  sextette  who  falls  in  love  with  a 
gay  society  rounder.  There's  a  scoundrel  who  tries 
to  steal  our  Daisy,  but  true  love  wins.  Our  hero  goes 
into  the  business  of  making  horseless  carriages — and 
acquires  a  fortune.  When  this  comedy  sticks  to  broad 
burlesque  it  is  funny  and  Marion  Davies  is  at  her  best 
in  her  comic  moments.-  You'll  love  the  sextette  when 
it  dashes  into  "Tell  Me,  Pretty  Maiden,"  with  the 
giddy  abandon  of  the  '90s. 

Best — Marion  Davies 

What,  another  revue?  Here  specialties  are  held  to- 
gether by  a  thin  plot,  dealing  with  the  spendthrift 
nephew  of  a  millionaire  who  is  in  love  with  a  show 
girl.  This  somehow  or  other  permits  of  the  moving  of 
a  Broadway  revue,  scenery  and  all,  to  the  rich  uncle's 
country  estate  in  Westchester.  To  our  way  of  think- 
ing, Noel  Francis  scores  best  as  a  blues  singing  show 
girl,  while  El  Brendel  holds  up  an  otherwise  weak 
musical  picture.  Brendel  plays  a  valet  who  poses  as  a 
wealthy  lumberman  from  somewhere  or  other.  This 
is  elaborately  staged  and  has  ambitious  intentions — 
but  it  is  just  fair.  Marjorie  White  is  entirely  too 
forced  for  our  taste. 

Best — Noel  Francis 


SWEET  MAMA 
First  National 

Directed  by  Edward  Cline. 
The  cast:  Goldie,  Alice  White; 
Jimmy,  David  Manners;  Joe 
Palmer,  Kenneth  Thomson ; 
Lulu,  Rita  Flynn;  Al  Hadrick, 
Lee  Moran;  Gangsters,  Lee 
Shumway,  Lou  Harvey,  Richard 
Cramer  and  Robert  Elliott. 


What,  the  underworld  and  cabarets  again?  Here 
they  are,  playing  the  background  once  more  for  Alice 
White.  Alice  is  Goldie,  a  burlesque  chorine  who  gets 
all  mixed  up  with  a  gang  of  crooks  who  are  about  to 
rob  a  bank.  Of  course,  Goldie  foils  them  after  she 
takes  a  job  in  a  night  club.  The  big  moment  comes 
when  the  gang  leader's  gorillas  are  about  to  drop 
Alice's  sweetie  off  a  skyscraper.  Enjoyment  here 
depends  upon  three  things,  whether  or  not  you  like 
Alice,  gangsters  and  cabarets.  Miss  White  works 
hard,  but  the  melodramatic  machinery  creaks  consid- 
erably as  the  wheels  go  round.    Just  fair. 

Best — Alice  White 


ONE   ROMANTIC  NIGHT 

United  Artists 

Directed  by  Paul  L.  Stein. 
The  cast:  Alexandra,  Lillian 
Gish;  Prince  Albert,  Rod  La 
Rocque;  Dr.  Nicholas  Holler, 
Conrad  Nagel;  Princess  Bea- 
trice, Marie  Dressier;  Father 
Benedict,  O.  P.  Heggie;  Count 
Lutzen,  Albert  Conti;  Colonel 
Wunderlich,  Edgar  Norton  ; 
Symphorosa,  Billie  Bennett; 
George,  Phillippe  De  Lacy;  Ar- 
sene,  Byron  Sage;  Mitzi,  Bar- 
bara Leonard. 


If  you  saw  the  delightful  stage  production  of  Ferenc 
Molnar's  "The  Swan,"  with  its  brilliant  characteriza- 
tions by  Eva  Le  Gallienne,  Basil  Rathbone  and  Philip 
Merivale,  you  are  not  going  to  like  this  screen  version 
called  "One  Romantic  Night."  Briefly,  it  is  the  brittle 
triangular  romance  of  a  princess,  a  prince  and  a  tutor. 
The  two  male  roles  are  clumsily  acted  in  the  film  ver- 
sion by  Rod  La  Rocque  and  Conrad  Nagel.  Miss  Gish 
is  mild,  intelligent  and  dignified.  The  hit  is  scored  by 
Marie  Dressier,  who  gallops  away  with  the  film  as  the 
princess'  mother.  This  film  is  slender  and  rather  un- 
satisfactory. The  right  directorial  treatment  is 
lacking. 

Best — Lillian  Gish 


OLD  AND  NEW— Amkino 

Directed  by  Sergei  Eisen- 
stein  and  Gregory  V.  Alexan- 
drov.  Photography  by  Edward 
Tisse.  No  cast  list  available. 
Produced  in  U.  S.  S.  R.  by  Sov- 
kino  and  released  in  America 
by  Amkino. 


Because  it  was  directed  by  Sergei  Eisenstein,  who 
made  "The  Cruiser  Potemkin"  and  "Ten  Days  That 
Shook  the  World,"  this  has  significance  to  students  of 
films.  Eisenstein  is  looked  upon  as  an  important 
figure  in  pictures,  although  he  has  worked  far  away, 
in  Soviet  Russia.  Like  other  Russian  films,  this  is 
primarily  propaganda.  It  was  produced  by  the  Soviet 
Government  with  the  purpose  of  educating  Russian 
farmers  to  the  advantages  of  co-operation  and  modern 
agricultural  machinery.  The  big  moment  comes  when 
an  imported  American  churn  works — to  the  discom- 
fiture of  the  skeptics.  Unless  you  are  absorbed  in 
screen  technique,  you  will  find  this  dull  indeed. 

Best — Sergei    Eisenstein 


How  a  Fourteen-Year- 
Old  Failure  Lifted  Her- 
self  to    Film    Success 


Act  II 


Last  month  New  Movie  presented  the  first 
act  of  Lila  Lee's  colorful  life  drama.  Lila  Lee, 
who  is  just  twenty-five,  has  been  for  twenty 
years  an  important  figure  in  the  vaudeville 
and  screen  world.  In  1904  an  immigrant 
couple  from  southern  Germany  came  to  New 
York.  They  were  Charles  Appell  and  his  wife, 
Augusta.  With  them  was  a  little  girl  in  pig- 
tails, the  four-year-old  daughter,  Margaret. 
In  July,  1905,  another  daughter,  Augusta,  was 
born  to  the  couple.  Augusta  Appell  was  des- 
tined to  become  Lila  Lee. 

In  1910  Appell  was  boniface  of  a  little  hotel 
in  Union  Hill,  N.  J.  Actors  playing  an  adjoin- 
ing theater  stayed  at  the  hotel.  Thus  Gus  Ed- 
wards came  first  to  see  little  Augusta.  A  tiny 
girl  in  the  act,  "School  Days,"  fell  ill  and  Au- 
gusta was  pressed  into  service.  Thus  the  fu- 
ture Lila  Lee  made  her  stage  debut. 

Augusta  became  part  of  the  act,  thanks  to 
the  interest  and  loving  care  of  Mrs.  Lillian 
Edivards.  For  six  years  Augusta  was  the  lit- 
tle star  of  the  act.  She  was  billed  as  Cuddles, 
the  child  star.  In  1918  Jesse  Lasky,  head  of 
Famous  Players-Lasky,  came  to  Gus  Edwards 
with  an  offer  to  star  Cuddles  in  pictures.  Her 
name  was  changed  to  Lila  Lee.  She  made  one 
picture — a  flop. 


NOBODY  likes  to  be  labeled  a  failure. 
It's  bad  enough  to  take  a  polite  little 
flop  that  nobody  knows  but  yourself. 
But  when  everyone  is  looking  on,  when 
you  have  been  hailed  as  a  conquering  heroine, 
then  it  becomes  a  real  disaster. 

The  child  of  fourteen  who  had  been  vaude- 
ville's pet  as  "Cuddles,"  and  who  had  come 
to  Hollywood  touted  as  the  greatest  picture 
find  in  years,  faced  a  definite  failure  when 
most  girls  are  still  going  to  high  school,  pro- 
tected and  cared  for  and  knowing  no  more 
serious  heartache  than  a  scolding  or  a  quarrel 
with  a  girl  friend. 

Moreover,  Hollywood  gave  her  a  big  laugh 
instead  of  the  sympathy  which  she  so  sorely 
needed. 

p  ROB  ABLY  no  one  meant  to  be  unkind. 
*■  They  hadn't  grown  to  know  Lila.  She  was 
simply  a  little  upstart  who  had  been  elevated 

over  the  heads 
of  many  more 
worthy  of  suc- 
c  e  s  s  in  their 
eyes.  Her  cold 
reception  was 
due  to  the  fan- 
fare of  trumpets 
which  greeted 
her  entrance 
and  which  didn't 
make  much  of  a 
hit  with  the 
hard-working 
girls  who  felt 


Lila  Lee  was  exactly  fourteen 
when  she  flopped  as  a  child 
film  star.  Touted  as  the  great- 
est screen  find  in  years,  her 
debut  was  a  disaster.  Facing 
a  definite  failure  at  the  age 
most  girls  are  going  to  High 
School,  Lila  Lee  paused  to 
take  stock  of  herself.  Then 
she  began  the  fight  all  over 
again — and  won. 


86 


Th 


Drama 

of 

LI  LA 


By  EVELYN  GRAY 


that  such  importations  were  not  to  be  encour- 
aged. 

After  all,  who  was   this   infant,   shipped  out 
from  New  York  and  flung  to  the  top  without 
a  day's  preparations?     What  right  had  she  to 
such  preferment?     Maybe  she  had  been  on  the  stage 
since  she  was  five,  but  that  didn't  argue  that  she  was 
a  motion  picture  star. 

As  a  matter  of  fact,  they  were  right. 

Lila  Lee  found  herself  unable  to  handle  starring 
parts  in  motion  pictures.  Looking  at  it  in  retrospect 
that  isn't  so  astounding.  Camera  work,  particularly 
in  those  days,  differed  entirely  from  stage  work. 
Moreover,  when  she  worked  in  the  Gus  Edwards' 
"School  Days,"  Cuddles  had  always  played  either  her- 
self or  some  childish  bit  of  fun-making  pantomime. 
She  had  no  acting  technique,  no  knowledge  of  charac- 
terization. Also,  she  was  at  an  incredibly  difficult  age. 
Too  young  for  roles  that  included  sex,  too  old  for  really 
childish  parts. 

She  should  never  have  been  forced  to  carry  the  name 
and  the  burden  of  a  star  so  soon. 

But  it  was  Lila  herself  who  had  to  pay  for  the  mis- 
take the  producers  made  in  forcing  her  ahead  too 
fast. 

When,  after  one  or  two  more  half-hearted  and  very 
bad  attempts  to  make  starring  pictures  with  Lila  Lee, 
it  was  announced  publicly  that  she  was  no  longer  on 
the  Famous  Players-Lasky  roll  of  stellar  names,  the 
wise  ones  said  "I  told  you,"  a  lot  of  folks  laughed,  and 
every  one  agreed  that  the  last  had  been  heard  of  that 
young  person. 

Girls  didn't  come  back  from  such  a  flop  as  that. 

HP  HE  executives  of  the  organization  sent  for  Lila 
■*-  Lee  and  explained  the  situation  to  her  briefly  and 
forcibly.  Her  contract  was  for  five  years  but,  like  most 
Hollywood  contracts,  it  was  an  option  affair.  It  had 
to  be  renewed  at  the  end  of  each  year  by  the  company. 
It  called  for  Lila  Lee  to  play  star  parts  and  nothing 
but  star  parts. 

Now  this  somewhat  bewildered  youngster,  with  her 
enormous  eyes  and  the  soft,  dark  cloud  of  hair  down 
her  slim  young  back,  heard  that,  when  the  first  year 
was  up.  the  contract  would  not  be  renewed   on  that 


Lila  Lee,  the  daughter  of  German  immigrants,  was  a  vaudeville 
favorite  as  a  child.  She  was  the  Cuddles  of  Gus  Edwards' 
"School  Days."  Then,  at  thirteen,  she  was  signed  for  film  stardom. 


basis.  They  would  take  up  the  option,  but  they 
wouldn't  star  her. 

If  she  wanted  to  stick  around  they'd  try  to  find  some 
parts  for  her.  Eventually  they  might  make  something 
of  her — just  what  they  didn't  say.  Otherwise,  the  deal 
was  off.    She'd  have  to  make  up  her  mind. 

Lila  went  home  to  Minnie,  the  ever-faithful,  ever- 
present  Minnie,  who  had  cared  for  and  guarded  and 
loved  her  in  the  theater  when  Mrs.  Edwards  could  no 
longer  be  with  her  beloved  Cuddles.  Never  has  Holly- 
wood known  such  a  chaperon  as  Minnie  proved  to  be 
during  those  first  years  in  Hollywood.  No  one  ever 
got  inside  the  door  of  Lila's  house  or  her  dressing- 
room  without  passing  Minnie's  eagle  eye.  If  the  girl 
had  callers,  Minnie  sat  in  the  next  room.  Anyone 
who  invited  Lila  out  to  dine  or  drive  found  Minnie, 
arrayed  in  her  best  black,  ready  to  accompany  them. 

Now  Lila  wept  on  her  shoulder  and  faced  a  pretty 
grown-up  problem.  They  had  been  badly  defeated  in 
their  attempt  to  take  Hollywood  by  storm.  Should 
they  go  back  to  New  York  and  the  stage,  which  knew 
Cuddles  and  would  always  headline  her  in  vaudeville 
and  musical  shows?  Or  should  they  stay  and  fight 
it  out  here?  Was  it  possible  to  live  down  such  a 
failure? 

DRIDE  told  her  to  go  back  East.  A  certain  very 
*  definite  bulldog  determination,  which  has  been  ap- 
parent throughout  her  career,  counseled  her  to  stay. 

And  there  was  another  great  pull  toward  the  latter 
course.  Whatever  Hollywood  thought  of  her,  she  loved 
Hollywood — the  life,  the  people,  the  work.  It  seemed 
more  real  to  her  than  any  of  the  places  she  had  visited 
in  her  nomadic  childhood.  Here  one  could  have  a  real 
home,  with  a  little  garden  and  trees  and  sunshine,  and 
make  permanent  friends,  who  didn't  pass  into  mere 
memories  when  the  train  pulled  out  for  the  next  town. 

Minnie  never  had  any  doubts.  She  told  Lila  that 
the  things  which  made  her  Cuddles  were  still  there. 
She  was  the  same  girl  whose  charm  and  personality 

87 


HOW  C.  B.  DE  MILLE  SAVED  LILA  LEE  FROM  OBLIVION 


Lila   Lee  would  have  been  forgotten  had  not  Cecil  De 
Mille  given  her  the  role  of  Tweenie  in  "Male  and   Fe- 
male."    And,  save  for  the  encouragement  of  Tommy 
Meighan,  she  would  have  faltered  then. 

had  made  Jesse  Lasky  give  her  that  amazing  star- 
ring contract  back  in  New  York.  All  she  needed 
was  experience  and  a  chance  and  she'd  be  offered 
another  chance  to  be  a  star. 

Minnie  was   right.      Not   many   years   later   the 
same  firm  did  offer  to  star  her  again.     But  love 
had  come  into  her  life  then  and 
at   the    dictates   of   love    she   re- 
fused it. 

When  she  had  just  about  made 
up  her  mind  to  stay  and  begin  at 
the  bottom  again,  a  message  ar- 
rived. Cecil  B.  De  Mille  wanted 
to  see  her. 

No  one  who  wasn't  there  can 
altogether  picture  what  "C.  B." 
meant  in  those  early  days.  One 
mentioned  his  name  with  bated 
breath.  He  was  the  miracle 
worker,  the  star  maker,  the  most 
awe-inspiring  figure  in  the  whole 
motion  picture  industry.  In  him 
began  all  the  traditions  of  royalty 
which  have  since  surrounded  im- 
portant directors.  His  was  the 
first  palatial  office,  the  first  huge 
staff,  the  first  complete  power  in 
a  big  organization.  D.  W.  Grif- 
fith had,  of  course,  been  the  whole 
works  himself. 

Lila  Lee  was  at  the  awkward  age 
but  Wallie  Reid,  out  of  good- 
ness of  heart,  made  her  his 
leading  woman.  Oddly  enough 
his  pictures  with  Lila  Lee  were 
his  most  popular. 

88 


'""pHE  CHIEF,"  as  everyone   called   him,   was  preparing 

■*■  to  make  "Male  and  Female."  Gloria  Swanson,  who 
had  just  achieved  stardom  through  "Don't  Change  Your 
Husband,"  and  Tommy  Meighan,  the  sensation  of  "The 
Miracle  Man,"  were  to  be  featured. 

Like  dozens  of  other  actresses  before  her,  little  Lila  Lee 
approached  the  door  of  C.  B.'s  sanctum  with  a  beating 
heart.  She'd  heard  of. his  biting  tongue,  his  cold  criticism, 
his  impersonal  appraisals. 

"I've  never  been  so  scared  in  all  my  life,"  she  told  me. 

In  the  mellow  light  of  the  famous  stained  glass  windows 
which  featured  his  office,  C.  B.  sat  behind  his  big  desk. 
But  instead  of  the  hard  and  difficult  ogre  she  had  prepared 
to  meet,  she  faced  a  kindly  smile  and  a  most  courteous 
welcome. 

As  a  matter  of  fact,  she  must  have  looked  very  young 
and  terribly  frightened. 

"How  would  you  like  to  play  a  part  in  my  next  picture?" 
he  said. 

"I'd  love  it,"  said  Lila  Lee,  and  in  those  words  com- 
mitted herself  to  motion  pictures. 

A  few  days  later  she  received  a  summons  to  the  studio, 
to  hear  Jeanie  McPherson  read  the  script  of  the  coming 
production.  This  was  another  innovation  of  De  Mille's. 
Around  him  were  gathered  Miss  Swanson,  Mr.  Meighan  and 
the  other  members  of  the  cast. 

The  reading  began. 

Lila  was  to  play  a  part  called  Tweenie.  Now  in  the  story 
as  it  progressed  (it  was  an  adaptation  of  Barrie's  "The  Ad- 
mirable Crichton")  there  was  a  great  deal  about  Lady 
Mary.  A  great  deal  about  Crichton.  About  this  one  and 
that  one.    But  very  little  about  Tweenie. 

TITTLE  by  little  the  tears  began  to  gather  in  Lila's  eyes. 
■*— '  Why,  it  wasn't  anything.  Just  a  comedy  bit.  She 
didn't  have  half  a  dozen  scenes — and  just  a  little  while  ago 
she'd  been  a  star.  No  one  noticed  her  sitting  by  herself  in 
the  corner  when  the  reading  was  finished.  Everyone  ap- 
plauded and  congratulated  Mr.  Meighan  and  Miss  Swanson. 
Lila  just  prayed  none  of  the  sobs  that  were  choking  her 
would  escape. 

Then  Tommy  Meighan's  eyes  fell  on  her.  She  had  never 
met  him  until  that  day.  But  it  wouldn't  have  mattered  to 
Tommy  if  he'd  never  met  her.  Any  kind  of  distress  was 
always  a  signal  for  Tommy's  kindly    {Continued  on  page  115) 


Th 
Poor 

Little 
RICH 
GIRL 


BY 

ANTOINETTE 

SPITZER 


ONCE   there   was   a   little   girl   who 
was  very,  very  pretty. 
The    gods    were    good    to    her! 
She  had  gorgeous  red  hair,  not  at 
all  carrot-like,  but  pure  titian;  and  lovely  white  skin. 
That  wasn't  all,  either. 

She  was  extremely  talented,  too. 

There  are  some  in  this  world  who,  like  her,  seem 
blessed. 

Whoever  gazed  at  her  fair  face  cried: 
"How  beautiful  I" 

But  the  pretty,  little  lady  wasn't  very  rich.  You 
know,  like  you  and  me  and  our  friends.  Not  poor,  but 
not  especially  affluent.  And  like  you  and  me  she  be- 
moaned her  fate  because  there  were  so  many  things  she 
wanted  to  do  and  study,  but  she  didn't  have  the  money. 

IF  only  I  were  rich,"  she  used  to  say  all  the  live- 
long day. 

That  was,  of  course,  when  she  was  just  a  little  girl. 
When  she  grew  up  she  made  up  her  mind  quite  sud- 
denly that  sitting  before  a  fireplace  and  wishing  for 
wealth  wasn't  going  to  get  her  anywhere  at  all.  If  she 
wanted  to  accomplish  things  she  would  have  to  go  out 
and  do  them,  at  once.  I  don't  think  she  had  heard  of 
the  mountain  and  Mohammed  at  that  time,  but  anyway, 
she  came  to  certain  conclusions  along  that  very  line. 

And  so  Hope  Hampton,  who  is  the  heroine  of  this 
Cinderella  yarn,  went  out  into  the  world  and  did  things. 

And  how! 

It  was  hard  work,  this  career  business,  but  because 
she  was  determined  she  achieved  success  in  the  field 


Hope  Hampton  was  a  success  in  motion  pictures.  But  she 
longed  for  new  worlds  to  conquer  —  and  turned  to  grand 
opera.  Soon  she  is  to  appear  in  the  talkies,  where  her  charm- 
ing voice  will  be  heard  to  splendid  effect. 


she  had  chosen,  which  was  the  movies.  And  soon 
she  wasn't  as  poor  as  she  had  been  and  she  had  earned 
all  the  dollars  she  had  in  the  bank  herself,  by  her  own 
wits,  and  people  applauded  her  success  and  gave  her 
plenty  of  deserved  credit. 

THEN  she  fell  in  love. 
And  the  man  she  fell  in  love  with  was  Jules  Brula- 
tour,  the  multi-millionaire. 

And  when  she  became  Mrs.  Jules  Brulatour  every- 
one smiled  and  said: 

"Now  she  has  everything." 

But  apparently  she  didn't,  for  she  wanted  something 
more.     More  success.     More  personal  achievement. 

Just  as  when  she  was  a  little,  dreamy  girl  in  Hous- 
ton, Texas,  she  made  up  her  mind  to  be  a  motion  pic- 
ture star  and  became  one,  so  did  she  make  up  her  mind 
to  become  a  grand  opera  prima  donna.  But  that  ac- 
complishment did  not  bring  the  deserved  acclaim  at  all, 
or  at  least  not  what  she  hoped  for. 

And  why?     Hope  frowns  and  says: 

"Because  I've  a  rich  husband,  that's  why.  Every- 
thing I  do  since  I've  married  is  attributed  to  his  money. 
Oh,  it's  mean." 

Poor,  little,  rich  girl! 

Quite  a  different  attitude  from  what  present-day 
actresses  take  in  this  matter,  isn't  it?  The  majority  of 
them  are  delighted  and  even     (Continued  on  page  120) 


HOPE  HAMPTON  Finds  Wealth  a  Handicap  to  Success 


89 


ran 


HAVE 


By 
Homer  Croy 


AS  I  run  my  eye  down 

/\    the  table  I  see  we  have  a 
J    V  visitor  from   out  of  town — ■ 

and    quite   a    way    out,    too.      In 
fact,    all    the    way    from    the    Argentine. 
She  is  Mona  Maris,  the  Pride  of  the  Pampas. 

But  she  wasn't  always  Mona  Maris,  for,  when 
the  Argentinian  stork  deposited  her  on  the  doorstep 
and  went  flapping  away,  they  gave  her  the  name  of 
Maria  Rosa  Amita  Capdevielle,  which  shows  how  help- 
less a  child  is.  This  remained  her  name  for  some  time, 
as  she  was  too  young  to  do  anything  about  it.  But 
when  the  urge  came  for  her  to  go  on  the  stage,  she 
looked  about  and  picked  out  one  to  suit  herself. 

As  a  child  she  had  been  called  Mona,  which  in 
Argentinian  means  "little  monkey,"  as  you  know.  Mona 
had  always  been  a  lover  of  the  sea,  which  in  Spanish  is 
"maris"  and  so  she  joined  the  two  together,  and  thus 
"Mona  Maris"  was  born  without  benefit  of  stork. 

This  event,  by  the  way,  was  November  7,  1907,  and 
the  exact  place  was  Buenos  Aires. 

Mona  grew  up  on  a  rancho  in  the  pampas  and  is  as 
much  at  home  on  the  hurricane  deck  of  a  broncho  as 
most  girls  are  in  a  hammock.  As  she  was  growing  up, 
nothing  gave  her  such  delight  as  to  clap  on  a  pair  of 
spurs,  put  on  a  sombrero  and  gallop  across  the  pampas 
with  the  vaqueros,  but  now  she  lives  in  Hollywood  and 
the  most  violent  exercise  she  engages  in  is  winding  a 
wrist-watch. 

Sometimes,  however,  she  yearns  for  the  old  strenuous 
life  again  and  gets  so  worked  up  for  it  that  she  waves 
her  maid  aside  and  dials  her  own  telephone.  It  just 
shows  that  however  rich  and  famous  you  may  grow 
you  can  never  shake  off  childhood's  first  impressions. 

Just  now  the  craze  in  Hollywood  is  to  be  able  to 
speak  many  languages,  and  this  is  where  the  little  girl 
from  the  big  open  spaces  shines,  for  she  can  negotiate 
Spanish,  French,  Basque,  German,  Italian  and  English. 

No,  boys,  she  is  not  married,  although  she  could 
support  a  husband  in 
the  way  that  some  Hol- 
lywood husbands  de- 
mand to  be  supported. 
She  lives  all  alone  in  the 
seventeen  hundred  block 
North   Stanley  Ave- 


on 


nue,    Hollywood.      Wire 
90 


The  New  Movies  Ambassador  Extra- 
ordinary, Homer  Croy,  presides  at 
another   big    Hollywood    Banquet 


early 
and  often. 

So     the     next 
time   you    see    Mona 
Maris,  think  of  the  little 
monkey    from     the    Argen- 
tine who  made   good   in   Holly- 
wood  like   a    hot   tamale   among 
Mexican    railroad    section    gang. 

T  ORETTA  YOUNG:    If  you  had  dropped  in 
■^at  6507  West  Fifth  Street,  Hollywood,  a  few 
months  ago  and  had  observed  the  crowd  filling  the 
parlor  and  overflowing  into  the  yard  you  would  have 
said,  "Um — look  at  all  those  men.     The  Tall  Cedars  of 
Lebanon  must   be  having  their  annual  meeting." 

But  you  would  have  been  wrong,  for  it  was  the 
home  of  Mrs.  George  Belzer,  and  the  sitting-room  and 
the  yard  were  cluttered  up  merely  by  the  young  men 
who  had  fought  their  way  in  to  call  on  her  daughters; 
or  maybe  you  know  them  better  by  the  name  of  Young. 
One  of  the  girls  the  boys  were  swirling  around  was 
Loretta  Young,  and  if  you  had  seen  her  you  would 
have  said,  "What  a  pitiful  handful  of  men  there  is 
around  her! — not  more  than  twenty  at  most." 

Maybe  there  were  so  many  of  the  girls  because  the 
family  was  from  Salt  Lake  City,  where  another  family 
also  named  Young  did  quite  a  business  in  the  children 

line.  Here  Loretta  was 
born,  January  6,  1913. 
There  were  two  other 
peaches  on  the  same 
tree — Sally  and  Polly 
Ann  —  and  the  bud  is 
Georgianna,  now  six 
years  old. 


WITH  US  TONIGHT 


But  one  of  the  peaches  has  been  snatched  by  Grant 
Withers,  who  has  an  eye  for  fruit.  The  peach  was  so 
young  that  he  could  not  annex  it  in  the  state  of  Cali- 
fornia where  the  nasty  old  law  says  that  a  girl  has  to 
be  seventeen  years  old  before  she  can  promise  to  obey. 
In  Arizona  a  girl  can  promise  to  jump  through  at  the 
age  of  sixteen.  They  promise  that,  but  O  lordy!  how 
some  of  us  men  know  they  clean  forget  that  part  of 
the  ceremony.  In  fact,  it's  come  to  such  a  pass  these 
days  that  if  a  wife  did  actually  obey  you  could  throw 
a  tent  around  her  and  charge  admission. 

Grant  took  her  to  Arizona  and  now  they  are  as  happy 
as  a  Scotchman  who  has  won  a  lottery  prize. 

So  don't  disturb  'em.  Even  if  you  went  to  their  house 
to  call  and  knocked  down  their  front  door  with  a  sledge- 
hammer they'd  just  think  it  was  the  wind  rattling  a 
leaf  against  the  weather-boarding. 

(^  EORGE  BANCROFT:    We  have  a  villain  with  us 
^tonight,  and  I  will  exhibit  him  in  all  his  villainy. 

He  is  none  other  than  George  Bancroft,  the  highest- 
priced  villain  in  the  world.  In  spite  of  what  the  copy- 
books say,  villainy  pays,  for  George  has  a  lovely  house 


"«l 


Op 


at  Santa  Monica,  and  when  he  goes  into  his  bank  to 
make  a  deposit  the  president  of  the  bank  himself  comes 
out  and  gives  him  the  best  cigar  in  his  humidor. 

And  it  has  all  grown  out  of  George's  ability  to  laugh 
as  he  shoots  a  man  down  in  cold  blood.  Off  stage,  he 
is  just  the  opposite.  He  is  so  tender-hearted  that  if 
he  has  to  set  a  mouse-trap  he  weeps  all  over  the  cheese. 
But  when  George  shoots  a  man  down,  he  chortles  with 
glee  and  picks  his  teeth  with  a  bowie-knife. 

George  notched  his  first  gun  in  Philadelphia,  Septem- 
ber 30,  1882.  When  the  nurse  brought  him  in  for  the 
proud  father  to  see,  the  little  lad  pasted  him  one  in 
the  eye  and  laughed  in  his  face.  No  one  at  the  time 
knew  that  some  day  the  boy  would  get  a  hundred  thou- 
sand dollars  a  year  for  doing  it  in  front  of  a  camera. 

And  now  what  do  you  think  the  bad  man's  hobby  is? 
It's  raising  delicate,  exotic  goldfish.  It  just  shows  that 
you  can't  be  bad  twenty-four  hours  a  day,  no  matter 
how  well  it  pays.  One  day,  after  shooting  down  four 
strong  men  and  laughing  uproariously  as  he  dropped 
his  gun  back  into  its  holster,  he  went  home  to  find 
that  the  cat  had  eaten  one  of  his  Japanese  goldfish  and 
George  was  so  wrought  up  that  his  wife  had  to  give  him 
aspirin. 

George  has  seen  real  men  die,  for  he  was  a  gunner 
on  a  battleship  under  command  of  Admiral  George 
Dewey  at  the  Battle  of  Manila  Bay,  and  also  he  served 
in  the  Boxer  Rebellion.  "It  made  me  sick  to  see  real 
men  die,"  he  says — and  then  he  will  put  on  his  make-up 
and  bump  them  off  as  if  he  were  the  Pride  of  Chicago. 

The  apple  of  his  eye  is  his  daughter,  Georgette, 
named  in  honor  of  her  bloodthirsty  father,  who  is 
twelve  years  old.  If  she  finds  a  splinter  in  her  finger 
he  rushes  to  the  telephone  and  calls  three  doctors  and 
two  nurses  and  begs  them  to  save  her. 

So  that's  the  kind  of  a  man  we  have  with  us  tonight. 
Get  up,  George,  and  fire  away. 

{Continued  on  page  129) 


DRAWING 

BY 
HERB  ROTH 


Reading  across  The  New  Movies  banquet  table 
from  left  to  right  you  will  find :  Mary  Brian,  Mr. 
Croy  himself,  Loretta  Young,  Betty  Compson, 
George  Bancroft,  Mona  Maris  and  George 
O'Brien.  NEW  MOVIE'S  own  jazz  orchestra  is  pro- 
viding music  at  the  upper  left. 


91 


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Just  a  Movie 
PREMIERE 

But  it  drew  the  largest  crowd  ever  seen  in  Holly- 
wood. The  event,  by  the  way,  was  the  opening 
of  Howard  Hughes'  $4,000,000  air  spectacle, 
"Hell's  Angels."  For  some  fifteen  blocks,  from 
Vine  Street  to  La  Brea,  the  streets  and  sidewalks 
were  jammed.  It  required  an  hour  to  work  a  car 
through  the  crowds  to  the  entrance  of  Graumann's 
Chinese  Theater.  Everybody  of  note  was  there — 
announced    by   a    loud    speaker   to   the   crowds. 


92 


mm 


mi 


urns 


^^ 


^r'QLiSs  / 


Hollywood  Boulevard  was 
as  light  as  day,  for  Mr. 
Hughes  had  placed  huge 
sunlight  arcs  every  fifty 
feet.  In  the  sky  above, 
squadrons  of  airplanes 
hovered,  picked  up  by 
giant  searchlights.  New 
Movie  caught  some  of  the 
notables.  Across  the  page: 
Bebe  Daniels  and  Ben 
Lyon  while  Mary  Brian 
is  speaking  into  the  micro- 
phone. Below,  Ann  Hard- 
ing and  her  husband, 
Harry  Bannister.  Right: 
Gloria  Swanson.  At  the 
far  right,  Jean  Harlow, 
the  heroine  of  the  film, 
"  Hell's    Angels." 


m- 


:&**<- 


Special  Photographs 

for  NEW  MOVIE  by 

Stagg. 


Several  millions  of  dollars  in  jewels  were  present  at  the 
premiere.  The  gowns  represented  a  fashion  parade.  This 
was  the  highwater  mark  in  Hollywood  openings.  Among 
the  other  notables  present  were  Mary  Pickford,  Maurice 
Chevalier,  Charlie  Chaplin,  Harold  Lloyd,  Gary  Cooper, 
Janet  Gaynor,  Charles  Farrell,  Clara  Bow,  Lon  Chaney, 
John  Gilbert  and  Ina  Claire,  Joan  Crawford  and  Doug 
Fairbanks,    Jr.,   and    Mr.    and    Mrs.    Richard    Barthelmess. 


93 


GUIDE  to  the  BEST  FILMS 

Brief  Comments  Upon  the  Leading  Motion  Pictures 
of  the  Last  Six  Months 


Louis  Wolheim   and    Lewis   Ayres   in   a   graphic    Flanders   Fields  scene    of   Universal's 
sensational  "All  Quiet  on  the  Western  Front." 


Group  A 

Journey's  End.  One  of  the  best  war  pictures  yet  pro- 
duced. Splendidly  acted  by 
Colin  Clive  and  Ian  Mac- 
Laren.  Plenty  of  emotional 
effectiveness,  punch  and 
action.  Tiffany  Produc- 
tion. 

All  Quiet  on  the  Western 
Front.  Here  is  a  grue- 
some and  bloody  picturiza- 
tion  of  Remarque's  detailed 
reaction  to  the  World  War. 
It  is  ghastly  in  its  truth 
and  is  an  everlasting  ser- 
mon against  war  and  its 
futility.     Universal. 

Sarah  and  Son.  Ruth 
Chatterton  in  another 
"Madame  X"  of  mother 
love.  This  will  surely  get 
your  tears  and  hold  your 
interest.     Paramount. 

Song  O'  My  Heart.  John 
McCormack  makes  his 
screen  debut  in  this 
charming  drama,  in  which 

Norma  Shearer  and  Chester 
Morris  are  about  to  be  inter- 
rupted in  a  romantic  pastoral 
moment  of  "The  Divorcee." 
Miss  Shearer  gives  an  excel- 
lent performance. 

94 


The    Green    Goddess. 

George  Arliss,  this  time 


his  glorious  lyric  tenor  is 
superbly  recorded.  He  does 
eleven  songs.  The  story  is 
expertly  contrived  to  fit  the 
world-popular  Mr.  McCor- 
mack.   Fox. 

The  Vagabond  King. 
Based  on  "If  I  Were  King," 
this  is  a  picturesque  musi- 
cal set  telling  of  Frangois 
Villon's  career  in  the  days 
of  Louis  XI.  Dennis  King 
and  Jeanette  MacDonald 
sing  the  principal  roles,  but 
0.  P.  Heggie  steals  the  film 
as  Louis  XL     Paramount. 

Street  of  Chance.  The 
best  melodrama  of  the 
year.  The  story  of  Natural 
Davis,  kingpin  of  the  un- 
derworld and  Broadway's 
greatest  gambler.  Corking 
performance  by  William 
Powell,  ably  aided  by  Kay 
Francis  and  Regis  Toomey. 
Paramount. 

The  Rogue  Song.  A  great 
big  hit  for  Lawrence  Tib- 
bett,  character  baritone  of 
the  Metropolitan  Opera 
House.  The  tragic  romance 
of  a  dashing  brigand  of 
the  Caucasus,  told  princi- 
pally in  song.  Based  on  a 
Lehar  operetta.  Metro- 
Goldwyn. 
Another  fine  performance  by 
as  the  suave  and  sinister  Raiah 


Alice  White  as  Dixie  Dugan  in  the  further  adventures  of  "Show  Girl,"  released  under  the  title  of  "Show  Girl  in 
Hollywood."     Miss  White  gives  a  piquant  characterization  of  the  lively  Dixie. 


of  Rokh,  who  presides  over  a  tiny  empire  in  the  lofty 
Himalayas.     You'll  like  this.     Warners. 

Anna  Christie.  This  is  the  unveiling  of  Greta  Garbo's 
voice.  'Nough  said.  It's  great.  We  mean  Greta's 
voice.     Be  sure  to  hear  it.     Metro-Goldwyn. 

Devil  May  Care.  A  musical  romance  of  Napoleonic 
days,  with  Ramon  Novarro  at  his  best  in  a  delightful 
light  comedy  performance.  Novarro  sings  charmingly. 
This  is  well  worth  seeing.    Metro-Goldwyn. 

Lummox.  Herbert  Brenon's  superb  visualization  of 
Fannie  Hurst's  novel.  The  character  study  of  a  kitchen 
drudge  with  Winifred  Westover  giving  a  remarkable 
characterization  of  the  drab  and  stolid  heroine.  A  little 
heavy  but  well  done.     United  Artists. 

The  Love  Parade.  The  best  musical  film  of  the  year. 
Maurice  Chevalier  at  his  best,  given  charming  aid  by 
Jeanette  MacDonald.  The  fanciful  romance  of  a  young 
queen  and  a  young  (and  naughty)  diplomat  in  her  ser- 
vice.   Piquant  and  completely  captivating.    Paramount. 

The  Show  of  Shows.  The  biggest  revue  of  them  all — 
to  date.  Seventy-seven  stars  and  an  army  of  feature 
players.  John  Barrymore  is  prominently  present  and 
the  song  hit  is  "Singin'  in  the  Bathtub."  Crowded  with 
features.    Warners. 

Welcome  Danger.  Harold  Lloyd's  first  talkie — and  a 
wow!  You  must  see  Harold  pursue  the  sinister  power 
of  Chinatown  through  the  mysterious  cellars  of  the 
Oriental  quarter  of  'Frisco.   Full  of  laughs.   Paramount. 

They  Had  to  See  Paris.  A  swell  comedy  of  an  honest 
Oklahoma  resident  dragged  to  Paris  for  culture  and 
background.  Will  Rogers  gives  a  hilarious  performance 
and  Fifi  Dorsay  is  delightful  as  a  little  Parisienne 
vamp.  Fox. 

The  Trespasser.  A  complete  emotional  panorama  with 
songs,  in  which  Gloria  Swanson  makes  a  great  come- 


back. You  must  hear  her  sing.  Gloria  in  a  dressed-up 
part — and  giving  a  fine  performance.     United  Artists. 

Sunny  Side  Up.  Little  Janet  Gaynor  sings  and  dances. 
So  does  Charlie  Farrell.  The  story  of  a  little  tenement 
Cinderella  who  wins  a  society  youth.  You  must  see 
the .  Southampton  charity  show.  It's  a  wow  and  no 
mistake !     Fox. 

The  Lady  Lies.  In  which  a  lonely  widower  is  forced  to 
choose  between  his  two  children  and  his  mistress.  Dar- 
ing and  sophisticated.  Beautifully  acted  by  Claudette 
Colbert  as  the  charmer  and  by  Walter  Huston  as  the 
widower.    Paramount. 


Group  B 


Paramount  on  Parade.  A  series  of  specialties  con- 
tributed by  the  company's  various  stars.  Pretty  dull 
entertainment.  Kept  alive  by  M.  Chevalier  who,  with 
Evelyn  Brent,  furnishes  one  of  the  best  bits  in  "The 
Birth  of  the  Apache."    Paramount. 

Show  Girl  in  Hollywood.  Remember  Alice  White  as 
Dixie  Dugan  in  "Show  Girl"?  Well,  this  is  her  further 
adventures,  showing  the  trials  and  tribulations  of  a 
newcomer  seeking  a  break  in  pictures.  Don't  miss  it. 
First  National. 

The  Divorcee."  Based  on  Ursula  Parrott's  "Ex-Wife." 
Norma  Shearer  gives  a  striking  characterization  and  is 
ably  supported  by  Chester  Morris,  Robert  Montgomery 
and  Conrad  Nagel.    Metro-Goldwyn-Mayer. 

Montana  Moon.  Presenting  Joan  Crawford  as  the 
spoiled  daughter  of  a  ranch-owner.  She  marries  a  cow- 
boy and  then  decides  to  go  her  own  way  in  New  York. 
There  is  a  song  hit,  "The  Moon  is  Low."  Metro- 
Goldrvyn-Mayer, 

95 


Photograph  by  Hurrell 


LON 
CHANEY 


The  Man  of  a  Thousand  Faces  returns  to  the  screen  with  four  voices.     He  again 

is  playing  the  sinister  Professor  Echo  in  "The  Unholy  Three."    This  time,  however, 

"The  Unholy  Three"  is  a  full-fledged  talkie  with   Lon  speaking  for  the  first  time. 

Indeed,  Chaney  is  a  whole  quartet  in  this  interesting  film  . 


96 


The  Hollywood  Boulevardier 


stars  as  well  as  among  writers  both 
in  Hollywood  and  New  York.  He  is 
popular  with  stars  because  he  is  always 
willing  to  turn  his  back  to  the  camera 
(it's  his  homely  voice  as  much  as  his 
homely  face  that  puts  Stu  over)  and 
because  he  would  rather  tell  the  world 
about  Gary  and  Buddy  and  Clara  Bow 
than  talk  about  himself.  He  is  pop- 
ular with  writers  because  he  is  per- 
fectly willing  to  sit  back  and  let  them 
talk  about  themselves  and  because  he 
has  off  screen  the  same  homely  obser- 
vant humor  that  he  has  on.  Stu  is  the 
sort  of  person  you  delight  in  recom- 
mending, a  comic  valentine  among  lacy 
painted    hearts. 

Happily  Married  Divorcee — You  note 
I  love  to  dwell  on  the  irony  of  Holly- 
wood. For  instance,  there's  Norma 
Shearer,  happy  spouse  of  Irving  Thal- 
berg,  coming  to  triumph  in  "The  Di- 
vorcee." Norma  is  one  of  those  un- 
cannily smart,  witty  and  charming 
women  who  know  what  they  want  and 
get  it.     And  you  are  glad  she  does. 


(Continued  from  page  58) 

Just  the  same  I  was  a  little  surprised 
to  read:  "First  public  showing  of  Nor- 
ma Shearer's  'The  Divorcee'  aboard 
the  S.S.  Leviathan  is  sensational.  Six 
hundred  press  and  public  officials  de- 
clare  it   greatest  talkie   yet   made!" 

Good  Intentions  Rewarded — I  am  re- 
minded that,  on  the  eve  of  the  talkies, 
Jack  Gilbert  said  it  was  his  heart's  de- 
sire to  help  Greta  Garbo  speak  lines. 
Hence  it  is  good  to  read  that  Dr.  Mara- 
fioti,  the  voice  coach,  says  that  Jack 
can  make  good  in  the  talkies  "with  care 
and  training." 

Talkie  Pasts — The  talkie  has  been 
dragging  out  pasts  in  a  shameful  way. 
In  order  to  prove  their  vocal  ability 
stars  have  been  confessing  to  all  sorts 
of  things.  I'm  not  one  who  believes 
that  fans  should  be  protected  against 
disillusionment.  Just  the  same  I  shall 
never  quite  overcome  the  fracture  sus- 
tained by  the  news  that  Wally  Beery 
was  once  a  Broadway  chorus  man.  For- 
tunately there  is  such  a   thing  as  the 


power  of  mind  to  shut  off  things  that 
undermine  faith.  And  so  with  stopped 
ears  I  shall  go  on  thinking  of  Wally 
as  bull  man  for  Ringlings'  circus,  nurse- 
maid to  the  elephants. 

No  Ghosts  Admitted — You  no  doubi; 
read  that  Valentino's  haunted  house, 
Falcon  Lair,  is  now  inhabited  by  Harry 
Carey.  The  other  day  a  flushed  fat  lady 
appeared  at  the  gates  and  was  stopped 
by  Harry's  colored  chauffeur.  The  lady 
loudly  demanded  admittance. 

"I  have  an  appointment  with  Mr. 
Valentino,"  she  cried. 

"Go  on!"  said  the  colored  man,  his 
eyes  bulging.  "Mr.  Valentino  am  dead." 

"I  have  an  appointment  with  him," 
insisted  the  large  lady.  "It  is  his  anni- 
versai'y  and  the  spirits  say  I  will  meet 
him  here." 

"You  mean  a  ghost  am  comin'  round 
here?"  gasped  the  colored  man. 

"Yes,"  said  the  lady,  "his  spirit." 

"Not  while  I'm  here,  lady!"  shrieked 
the  shuddering  Negro  slamming  the 
gates.     "Not  while  I'm  here!" 


Gossip  of  the  Studios 


ART  GOEBEL,  the  best  aviator  in 
Hollywood,  who  already  has  to 
his  credit  a  little  non-stop  jaunt  from 
San  Francisco  to  Honolulu,  is  going 
after  another  record.  This  one  from 
Paris  to  New  York.  He  and  his  plane, 
a  Lockheed  monoplane,  left  Hollywood 
for  Paris  the  first  part  of  June,  and 
Art  expects  to  jump  off  as  soon  after 
he  reaches  Paris  as  the  weather  will 
permit.  No  man  has  as  yet  succeeded 
in  making  that  Paris  to  New  York 
jump.  Hoot  Gibson,  saying  goodbye  to 
Art,  turned  away  and  had  tears  in  his 
eyes.  "Too  many  of  'em  have  hopped 
off  on  that  one  and  not  come  back,"  he 
said. 

Ruby  Keeler,  wife  of  Al  Jolson,  was 
given  a  test  by  United  Artists,  and  it 
looks  very,  very  good. 

JUNE  COLLYER  again  is  given  a 
compliment.  When  Prince  George 
was  here  he  was  more  than  attentive 
to  June.  In  fact,  she  was  the  only  one 
in  Hollywood  to  be  given  such  atten- 
tion by  the  Prince.  And  now  Baron 
Rothschild  comes  with  the  avowed  in- 
tention of  looking  the  girls  over — and 
says  that  after  many  looks  he  thinks 
June  is  the  loveliest  of  the  lot. 

KENNETH  HARLAN,  who  used  to 
be  married  to  Marie  Prevost,  was 
recently  wed  to  Doris  Hilda  Booth,  of 
Somerville,  Mass.  Saw  Ken  and  his 
blonde  bride  dancing  at  George  Olsen's 
the  other  evening,  while  Buster  Collier 
and  Marie  sat  at  a  ringside  table.  Com- 
plications like  that  are  getting  more 
and  more  frequent  in  Hollywood. 

Golf  is  played  by  more  actors  in  Hol- 
lywood than  is  any  other  sport. 


(Continued  from  page  18) 

EAST  is  East  and  West  is  West  and 
never  the  twain  shall  meet."  That's 
an  old  saying  now,  but  New  York  has 
certainly  moved  to  Hollywood  these 
talkie  days  with  a  vengeance.  Stage 
stars  are  to  be  seen  on  every  hand. 
William  Collier,  Sr.,  Florenz  Ziegfeld 
and  Billie  Burke,  Ina  Claire,  Elsie  Fer- 
guson, Mrs.  Patrick  Campbell,  Mrs. 
Leslie  Carter,  Marilyn  Miller,  Irene 
Delroy,  Grace  Moore,  Beatrice  Lillie, 
Ruth  Chatterton,  Al  Jolson,  John  Bar- 
rymore,  Laura  Hope  Crews,  Helen 
Ware,  Evelyn  Laye,  Barbara  Stanwyck, 
Ann  Harding,  Claudette  Colbert,  Louis 
Wolheim,  Eddie  Cantor,  Walter  Catt- 
lett,  Leon  Errol,  Louise  Dresser,  Marie 
Dressier,  Otis  Skinner  and  Maurice 
Chevalier  have  all  had  their  names  in 
electric  lights  on  Broadway. 

There  are  more  weighing  machines 
in  Hollywood  homes  than  anywhere 
else  in  the  world — of  equal  population. 
Reason:  the  camera  shows  a  pound 
taken  off  or  taken  on  and  the  boys  and 
girls  must  be  careful. 

Jack  Mulhall  and  Elsie  Janis  spent 
an  entire  evening  in  a  corner  at  Sadie 
Murray's  party  for  Bebe  Daniels  the 
other  night  discussing  old  days  in 
France.  Few  people  know  that  Jack 
had  a  wonderful  ivar  record. 

"There's  no  one  like  Elsie  Janis," 
Jack  said  later.  "You  remember  that 
General  Pershing  said  Elsie  Janis  was 
worth  a  whole  army  division  in  any 
war — and  an  army  division  is  over 
27,000  men." 

A     SPANISH    fiesta,    copied    exactly 
from  the  old  days  of  early  Cali- 
fornia,   was    given    by    Mr.    and    Mrs. 


Frank  Lloyd  on  Sunday  at  their  ranch 
home  near  Whittier.  A  Spanish  chef 
barbecued  whole  beeves,  there  were  tor- 
tillas, tamales,  real  Spanish  beans  and 
all  sorts  of  Spanish  dishes.  The  hon- 
ored guests  were  Mr.  and  Mrs.  Rich- 
ard Barthelmess.  Frank  has  directed 
Dick  Barthelmess  in  a  number  of  his 
recent  pictures,  including  "Son  of  the 
Gods,"  which  is  breaking  box-office 
records. 

The  seating  at  large  Hollywood  din- 
ner parties  is  getting  very  complicated. 
Heard  a  long  argument  the  other  after- 
noon as  to  whether  Mr.  and  Mrs.  Doug- 
las Fairbanks  (Mary  Pickford)  should 
rank  Mr.  and  Mrs.  Louis  B.  Mayer  at 
a  party  connected  with  the  opening  of 
a  Metro-Goldwyn-Mayer  picture.  Might 
be  a  good  idea  to  get  some  English  ex- 
pert to  make  out  a  Hollywood  Peerage. 
But  then  it  wouldn't  help,  because  stars 
come  and  go  too  quickly  in  this  busi- 
ness. 

EVERYONE  in  Hollywood  is  busy 
these  days  writing  round-robin  let- 
ters to  Wilson  Mizner,  who  is  ill  at  the 
Monterey  Hospital.  The  old  Brown 
Derby  doesn't  look  quite  natural  with- 
out Bill's  face,  and  certainly  the  con- 
versation lacks  the  inspiration  it  al- 
ways received  from  his  wit  as  he 
strolled  from  one  table  to  another. 

THE  first  Annual  Motion  Picture 
Tennis  Tournament  has  been  in 
progress  at  the  Los  Angeles  Tennis 
Club. 

Strong  teams   in    the   mixed   doubles 

who    are    approaching    the    finals    ai-e 

Teddy  von  Eltz  and  Catherine  Bennett, 

George  Archainbaud  and  Eileen  Percy, 

(Continued  on  page  102) 

97 


AIDS  to  BEAUTY 


Mary   Lewis   Turned    Reducing 
Into  a  Health  Regime 

By  ANN  BOYD 


THE  picture  on 
this  page  is  of 
Mary  Lewis, 
about  whose 
valiant  fight  with 
avoirdupois  you  have 
probably  read.  Miss 
Lewis,  you  know,  was 
once  a  bathing  girl  in  movie  comedies.  Then  she  came 
to  New  York,  went  into  the  chorus  of  the  "Follies"  and 
finally,  by  grace  of  an  exceptionally  fine  voice,  became 
a  musical  comedy  singer. 

At  this  point,  Miss  Lewis's  teachers  discovered  that 
she  had  a  voice  of  grand  opera  caliber  and  she  de- 
parted for  Europe  to  study.  She  returned  and  made  a 
splendid  debut  at  the  Metropolitan,  and  she  was,  to 
all  appearance,  done  with  the  movies.  But  then,  when 
the  talking  films  came  along,  Miss  Lewis  had  a  chance 
to  return  to  the  screen,  not  as  a  bathing  girl  but  as  a 
star. 

WHAT  has  all  this  to  do  with  an  article  on  beauty? 
Well,  it  happens  that  while  Miss  Lewis  was  gain- 
ing her  voice,  she  was  also  gaining  weight.  The 
prima  donna  who  wanted  to  return  to  the  screen  was 
no  longer  the  slim  bathing  girl.  Miss  Lewis's  producers 
hinted  that,  if  she  wanted  to  succeed  in  pictures,  she 
had  better  lose  plenty  of  weight.  And  Miss  Lewis  was 
up  against  a  much  harder  problem  than  the  average 
woman  who  must  reduce.  You  see,  there  is  an  un- 
written law  in  singing  circles  that  a  singer  must  be 
stout,  she  must  have  a  large  physique  to  withstand  the 
physical  hardships  of  operatic  work,  she  must  have  a 
good-sized  body  to  act  as  a  sounding-board  for  her 
voice. 

.98 


The  average  woman 
may  lose  weight  hast- 
ily because  she  usu- 
ally has  no  voice  to 
endanger.  She  is  even 
free  to  trifle  danger- 
ously with  her  health 
because,  as  she  falsely 
reasons,  her  livelihood  doesn't  depend  on  her  being  in 
the  pink  of  condition. 

But  Miss  Lewis  had  to  reduce  wisely  and  under  the 
direction  of  a  physician.  She  could  not  afford  to  swal- 
low all  those  mysterious  pills  which  are  guaranteed  to 
make  the  pounds  roll  off.  Neither  could  she  adopt  one 
of  those  diets  which  say  that  the  victim  may  be  made 
gorgeously  thin  if  she  lives  for  three  weeks  on  hard- 
boiled  eggs  and  water-cress. 

1V/TISS  LEWIS'S  reducing  regime  was  also  a  health 
*■**■  regime.  She  continued  to  eat — almost  as  much  as 
she  had  eaten  before.  She  had  her  three  meals  a  day. 
But  all  the  fattening  foods  were  eliminated  from  her 
diet.  And  she  had  to  exercise.  But,  very  wisely,  in- 
stead of  going  in  for  strenuous  indoor  gymnastics,  she 
took  up  golf  and  played  in  the  open  air.  Incidentally, 
she  got  a  great  deal  of  pleasure  from  her  golf,  which 
is  more  than  can  be  said  for  those  indoor  exercises.  And 
she  engaged  a  competent  masseuse  to  roll  away  the 
pounds  that,  in  face  of  her  diet  and  exercise,  were  ready 
to  melt  away. 

You  will  see  that  Miss  Lewis  went  in  for  balanced 
reducing;  that  is  to  say,  she  didn't  rely  entirely  on  diet, 
or  on  massage  or  on  exercise.  One  of  these  factors 
alone  will  not  be  effective.  For  instance,  many  women 
make  the  mistake  of  going  on    (Continued  on  page  113) 


The   New   Movie   Magazine 


ea 


J 


your  washday  jortune 
in  your  nana . . . 


"\7"OU  don't  have  to  be  an 
*-  expert  palmist.  Just  study 
the  hand  shown  here  and  see 
how  frankly  it  reveals  its 
washday  story. 

The  strong,  capable  palm  indicates  an 
energetic,  self-reliant  woman  —  the  kind 
who  directs  her  own  housework.  The  shape- 
ly fingers  show  a  love  of  the  beautiful — 
pride  in  having  her  clothes  a  little  cleaner 
than  any  one  else's.  The  unbroken  life  line 
predicts  many  years  of  happiness  because 
she  gets  things  done  with  the  least  exertion. 
And  the  well-defined  head  line  tells  that 
she's  thrifty — that  she  knows  a  bargain  in 
value  when  she  sees  it. 

You  would  expect  a  woman  like  this  to 
use  Fels-Naptha.  And  if  you  could  actually 
see  her  hand,  you  would  know  she  does! 

For  her  hands  haven't  that  in-the-vvater 
look.  That's  because  Fels-Naptha  washes 
clothes  clean  without  hard  rubbing,  and  be- 


cause it  does  this  so  quickly 
that  she  doesn't  have  to  keep 
her  hands  in  hot  water  so  long. 
The  reason  Fels  -  Naptha 
works  so  quickly  is  that  it  is 
good  soap  and  naptha.  Plenty  of  naptha — 
you  can  smell  it.  These  two  cleaners, 
working  hand-in-hand,  remove  even  stub- 
born dirt,  swiftly  and  easily,  without  hard 
rubbing. 

Fels-Naptha  is  one  soap  you  don't  have 
to  pamper.  Naturally  it  works  best  in  hot 
water — all  soaps  do.  But  Fels-Naptha  also 
works  beautifully  in  lukewarm  or  even 
cool  water.  So  wash  any  way  you  please — 
you  can  be  sure  that  Fels-Naptha  will  give 
you  extra  help. 

Get  Fels-Naptha  at  your  grocer's.  Use  it 

FELS-NAPTHA 

THE  GOLDEN  BAR   WITH 

THE  CLEAN   NAPTHA    ODOR 


for  household  cleaning,  too.  Then  your 
hands  and  home  and  clothes — and  you — 
will  all  proclaim  your  good  fortune! 

SPECIAL  OFFER  — Whether  you  have  been  using 
Fels-Naptha  for  years,  or  have  just  now  decided  to  try 
its  extra  help,  we'll  be  glad  to  send  you  a  Fels-Naptha 
Chipper.  Many  women  who  prefer  to  chip  Fels-Naptha 
Soap  into  their  washing  machines,  tubs  or  basins  find  the 
chipper  handier  than  using  a  knife.  With  it,  and  a  bar  of 
Fels-Naptha,  you  can  make  fresh,  golden  soap  chips 
(thatcontain  plenty  of  naptha  l)  just  as  you  need  them. 
Mail  coupon,  with  a  two-cent  stamp  enclosed  to  cover 
postage,  and  we'll  send  you  this  chipper  without  fur- 
ther cost.  Here's  the  coupon — mail  it  nowl 

©  1930.  Fels  &  Co. 


T.N.M.-S-30 
FELS  &  COMPANY,  Philadelphia,  Pa. 

Please  send  me  the  handy  Fels-Naptha  Chipper 
offered  in  this  advertisement.  I  enclose  a  two- 
cent  stamp  to  cover  postage. 

Name - — 


Street- 


City 


.  State. 


Fill  in  completely — print  name  and  addrcBS 


99 


The  New  Movie  Magazine 


ho  made  SUNNY  SIDE  UP  the  most  popular 
motion  picture  of  the  past  year? 

YOU  did  —with  the  tickets 

you  bought  at  the  box  offices  all 
over  the  country ....  Who  made 
THE  COCKEYED  WORLD  the  run- 
ner-up ?.... YOU  again  —  with 
your  spontaneous  approval,  registered  by  cash  paid  for  tickets  at  the 
box  office,  of  the  rough  and  ready  wit  and  humor  of  McLaglen  and  Lowe. 
....  Who  were  the  year's  favorite  actor  and  actress?  ....  Janet  Gaynor 
and  Charles  Farrell,  overwhelmingly  voted  the  most 
popular  in  polls  conducted  by  both  the  Chicago 
Tribune  and  the  New  York  Daily  News,  the  two  largest 
newspapers  in  their  respective  cities.  —  Who  won 
the  coveted  Photoplay  Gold  Medal  for  the  past  two 
years  ? . . .  FOX— last  year  with  John  Ford's  FOUR  SONS 
—  year  before  last  with  Frank  Borzage's  7th  HEAVEN. 
....Who  cast  the  winning   ballots  for  Gaynor  and 

Farrell  ?  . .  . .  Nobody  but  YOU Who  has  already 

decided  what  kind  of  pictures  we  will  produce  and 

leading  houses  everywhere  will  feature 
during  the  coming  year?  .  .  .  .YOU,  of 
course  —  because  you  have,  in  terms 
that  can't  be  mistaken,  placed  your  ap- 
proval on  what  FOX  has  done  in  the 

past  and  told  us  what  you  like Will 

you  get  it?  ...  .  Look  at  this  line-up  of 
new  productions  now  on  their  way  to 
you!  ....  Janet  Gaynor  and  Charles 
Farrell  in  OH,  FOR  a  man! — another  sure-fire  hit, 
produced    under  the   masterly  direction   of   the 

man  who  made  SUNNY  SIDE  UP,  David  Butler 

McLaglen  and  Lowe  chasing  WOMEN  OF  all 
NATIONS  —  in  the  further  rollicking  adventures  of 
Flagg  and  Quirt — from  the  story  by  Laurence 
Stallings  and  Maxwell  Anderson,  authors  of 
what  PRICE  GLORY.  Direction  by  Raoul  Walsh. 
What  a  line-up!.... Charlie  Farrell  in   his  greatest  part  of  all,  as  Liliom, 


SIXTY 


OTHERS 


BE 


100 


The  New  Movie   Magazine 


AND 


MILLION 


CANT 


WRONG 


in  DEVIL  WITH  WOMEN,  from  Franz  Molnar's 
international  stage  success ....  And  Charlie 
will  also  entertain  you  in  three  other  great 
pictures  during  the  year  —  THE  MAN  WHO 
CAME  BACK,  with  Louise  Huntington;  THE 
PRINCESS  AND  THE  PLUMBER,  with  Maureen 
O'Sullivan,  the  find  of  the  year;  and   SHE'S 

my  girl,  with  Joyce   Compton In  UP  the 

river,  a  new  kind  of  prison  story,  John  Ford 
is  striving  to  surpass  his  own  Photoplay  Gold 
Medal  winner,  FOUR  SONS.  In  this  picture  appears  Cherie,  daughter  of 
Warden  Lawes,  and  a  great  cast  of  established  rt  f 
screen  favorites  ....  Frank  Borzage,  Gold  Medal 
winner  of  the  previous  year,  will  give  you  four  great 
pictures  —  SONG  O*  MY  HEART,  introducing  to  the 
screen  the  golden  voice  and  vibrant  personality  of 
the  great  Irish  tenor,  John  McCormack  —  two  of 
Charlie  Farrell's  new  pictures,  THE  MAN  WHO  CAME 
BACK  and  DEVIL  WITH  WOMEN-and  ALONE  WITH  YOU, 
in  which  Janet  Gaynor  will  insinuate  herself  still 
more  deeply  into  your  affections  . . .  .The  honor  most 
coveted  by  the  motion  picture  actor  is  the  annual  award  of  the  Academy 
of  Motion  Pictures.  Warner  Baxter  is  the  latest  recipient  of  this  honor — 
won  by  his  magnificent  characterization  of  the  Cisco 
Kid  in  IN  OLD  ARIZONA.  Warner,  lovable  bandit  and 
idol  of  the  feminine  heart,  will  give  you  four  big 
pictures  ....  If  you  saw  Will  Rogers  in  THEY  HAD 
TO  SEE  PARIS,  or  SO  THIS  IS  LONDON,  you  will  cheer  the 
announcement  of  two  more  pictures  by  America's 
incomparable  comic:  A  CONNECTICUT  YANKEE, 
perhaps  Mark  Twain's  funniest  story,  and 
SEE  AMERICA  FIRST  ....  DeSylva,  Brown  and 
Henderson — the  Gilbert  and  Sullivan  of 
our  day — will  follow  their  smash  success, 
SUNNY  SIDE  UP  with  JUST  IMAGINE,  clever, 
gay,  tuneful  and  funny.  The  cast  will  be  headed  by  Maureen 
O'Sullivan  and  El  Brendel  ....  We  made  the  pictures — but  YOU 
asked  for  them — and  you  and  sixty  million  others  can't  be  wrong! 


101 


mm 


Looking  Into  the  Stars'  Salary 

Envelopes 


Colman,  $5,000;  Edmund  Lowe,  $3,000; 
William  Haines,  $3,500;  Wallace  Beery, 
$3,500. 

The  first  of  the  Hollywood  clan  to 
feel  the  effects  of  this  wholesale  im- 
portation of  footlight  talent  were  the 
second  string  film  players  not  under 
contract  to  any  particular  studio.  As 
free-lance  artists  they  move  from  studio 
to  studio  and  ordinarily  are  able  to 
pile  up  a  substantial  income  during 
the  year.  In  many  instances,  in  fact, 
free-lance  players  have  made  more 
profit  during  a  twelve  months'  period 
than  the  average  contract  player.  The 
talkies  changed  all  this,  however.  When 
outside  artists  were  needed  the  studios 
now  engaged  Broadwayites. 

Thus,  such  screen  favorites  as  Ken- 
neth Harlan,  John  Bowers,  Harrison 
Ford,  Mae  Busch,  Marguerite  De  La 
Motte,  Robert  Frazer,  Jacqueline 
Logan,  Helene  Chadwick  and  Ricardo 
Cortez,  who  had  been  able  to  consist- 
ently earn  $1,500  a  week,  suddenly 
found  little  demand  for  their  services. 
This  despite  the  fact  that  they  had 
been  given  no  opportunity  whatsoever 
to  show  whether  they  were  suited  to 
the  talkies  or  not.  Today  the  earnings 
of  most  of  these  players  have  been  cut 
in  half. 

Much  the  same  situation  applies  to 
Antonio  Moreno,  Bert  Lytell,  Conway 
Tearle,  Blanche  Sweet,  Anita  Stewart, 
Viola  Dana  and  Irene  Rich,  who  were 
in  such  demand  before  the  arrival  of 
the  sound  cinema  that  they  were  able 
to  command  $2,500  every  payday. 
Today  many  of  these  players  are 
rated  at  the  $1,500  mark,  with  film 
jobs  few  and  far  between.  Such  fa- 
vorites as  Bert  Lytell,  Eugene  O'Brien, 
Leatrice  Joy  and  Estelle  Taylor  have 
been  able  to  hold  their  yearly  incomes 
up  to  a  good  level  by  deserting  the 
movies  and  touring  the  country  in 
vaudeville  or  regular  dramatic  stage 
plays.  They  refused  to  take  the  Holly- 
wood salary  cuts  as  a  permanent  fix- 
ture and  surprised  the  film  colony  by 
establishing  themselves  as  drawing 
cards  in  the  footlight  realm. 

MANY  of  the  big  stars  of  the  silent 
drama  days  have  already  been 
dealt  a  hard  financial  blow  by  the  new 
dialogue  era;  others  have  been  able  to 
avoid  the  salary  slash  temporarily  or 
divert  it  completely.  It  has  been 
largely  a  case  of  the  qualifications  of 
the  individual  player  and  the  kind  of 
contract  held  with  the  studio. 

The  quartet  which  has  probably  felt 
the  paymaster's  axe  more  keenly  than 
any  other  stars  in  filmland  numbers 
Colleen  Moore,  Tom  Mix,  Thomas 
Meighan  and  Corinne  Griffith.  In  the 
days  of  the  good  old  silent  drama  these 
four  favorites  were  undoubtedly  among 
the  most  highly  paid  celebrities  in  the 
screen  world.  Colleen  was  earning  ap- 
proximately $12,000  a  week,  Tommy 
Meighan  $10,000,  Corinne  Griffith 
$7,000,  while  Tom  Mix  was  drawing 
down  the  tidy  sum  of  $15,000  every 
Saturday. 

Colleen  Moore  made  two  talking  pic- 
tures just  before  her  contract  expired 

102 


{Continued  from  page  29) 

with  First  National.  Her  contract  was 
not  renewed  by  First  National  and,  de- 
spite the  fact  that  a  year  has  passed, 
Colleen  has  not  signed  with  any  other 
company.  Tom  Mix  is  now  forced  to 
draw  his  income  from  the  circus 
game.  Corinne  Griffith  has  concluded 
her  contract  with  First  National. 
Thomas  Meighan,  long  one  of  America's 
foremost  screen  idols,  had  the  poorest 
year  of  his  career  in  1929. 

DURING  the  past  year  the  big 
studios  have  been  trying  out  their 
old  contract  players  in  the  talkies  in 
an  effort  to  determine  which  of  these 
players  appear  to  have  possibilities 
in  the  sound  cinema.  Because  of  this 
experimental  attitude  on  the  part  of. 
the  producers  many  holdovers  from 
the  silent  picture  era  have  been  able 
to  maintain  their  regular  salary  stand- 
ards, notwithstanding  the  fact  that  as 
conditions  exist  today  in  the  film  col- 
ony these  players  would  be  unable  to 
exact  the  same  high  pay  check  from 
other  studios  should  they  lose  their 
present  contracts. 

John  Gilbert,  for  instance,  who  has 
disappointed  his  followers  in  the 
talkies,  is  drawing  more  salary  today 
than  when  he  was  the  most  popular 
male  star  on  the  silent  screen.  Just 
before  the  advent  of  the  talkies  came 
into  full  swing  Gilbert's  contract  with 
M.-G.-M.  expired.  At  that  time  his 
salary  was  said  to  be  $5,000.  Upon 
signing  a  new  studio  agreement,  how- 
ever, Gilbert  was  given  a  raise  which 
is  now  reported  to  be  netting  him 
close  to  $7,000  a  week. 

Joan  Crawford,  Conrad  Nagel,  Doro- 
thy Mackaill,  Alice  White,  Fay  Wray 
and  Loretta  Young  are  today  drawing 
more  money  than  before  the  installa- 
tion of  sound.  Three  years  ago  these 
players  were  getting  approximately  the 
following  weekly  salaries:  Joan  Craw- 
ford $500,  Conrad  Nagel  $2,000,  Doro- 
thy Mackaill  $1,000,  Alice  White  $300, 
Fay  Wray  $200  and  Loretta  Young 
$100.     Today  their  weekly  pay  checks 


are  rated  at:  Joan  Crawford  $2,500, 
Conrad  Nagel  $3,500,  Dorothy  Mackaill 
$2,500,  Alice  White  $1,500,  Fay  Wray 
$1,000,  Loretta  Young  $875. 

More  mystery  surrounds  the  salary 
of  Greta  Garbo  than  that  of  any  other 
player.  Greta  was  originally  imported 
from  Europe  at  the  low  weekly  pay 
check  of  $350.  After  the  big  suc- 
cess scored  in  her  early  pictures, 
M.-G.-M.  gave  her  a  new  contract 
at  a  higher  figure.  Since  then  her 
salary  has  steadily  mounted  until  to- 
day she  is  said  to  be  getting  $6,000. 
Clara  Bow,  long  the  biggest  box- 
office  attraction  for  Paramount,  is  get- 
ting only  $4,000,  a  comparatively  low 
figure  in  view  of  her  popularity.  This 
is  explained  by  the  fact  that  when  she 
started  with  Paramount  it  was  at  a 
lower  salary  than  that  received  by 
most  stars  of  her  magnitude. 

Here  are  a  few  miscellaneous  1930 
salary  figures:  Lila  Lee  $1,500,  Wil- 
liam Austin  $750,  Neil  Hamilton 
$1,250,  Fredric  March  $1,500,  Grant 
Withers  $350,  John  Miljan  $750,  Joe 
E.  Brown  $1,800,  Betty  Compson 
$3,500,  Jack  Oakie  $1,000,  Otis  Harlan 
$1,000,  Mary  Brian  $800,  William 
Boyd  $1,500,  Robert  Armstrong  $1,500, 
Regis  Toomey  $500,  Thelma  Todd  $750, 
Nils  Asther  $1,500,  Kay  Johnson  $750, 
Lois  Moran  $2,000,  and  Lewis  Ayres 
a  mere  $125. 

Nineteen  hundred  and  thirty  will  un- 
doubtedly be  a  hard  year  on  the  ma- 
jority of  screen  favorites,  as  there  is 
now  a  concerted  campaign  on  the  part 
of  many  of  the  big  studios  to  release 
most  of  their  players  and  cast  them  on 
the  free  lance  field.  The  object  of  this 
move  is  to  bring  about  a  general  reduc- 
tion in  pay  checks,  which  the  producers 
believe  will  net  the  studios  a  huge  sav- 
ing in  the  course  of  a  year.  Also,  many 
of  the  players  whom  the  studios  have 
retained  under  contract  for  tryout 
purposes,  will  have  proven  unsuccess- 
ful for  talking  picture  work  and  will 
no  longer  be  in  demand. 
It's  a  bad  year  for  Hollywood  players. 


Gossip  of  the  Studios 


{Continued  from  page  97) 


Ben  Lyon  and  Lou  Rawson,  Solly  Biano 
and  Mrs.  Gregory  La  Cava. 

In  the  men's  singles,  Allan  Dwan, 
Matt  Moore,  Cedric  Gibbons,  Teddy 
von  Eltz,  Charlie  Lederer,  George 
Archainbaud  and  Ben  Lyon  were  prom- 
inent. Anyone  who  is  regularly  em- 
ployed by  the  industry  is  eligible. 

In  a  private  tournament  recently 
given  by  Marion  Davies,  the  women's 
singles  were  won  by  Eileen  Percy,  with 
Catherine  Bennett  as  her  opponent. 
Alex  Bennett,  younger  brother  of  Enid 
and  Catherine,  won  the  men's  singles 
from  Jules  Glaenzer  of  New  York. 
Charlie  Lederer  and  Anita  Murray  won 
the  mixed  doubles  from  John  Gilbert 
and  Marion  Davies. 


GLORIA  SWANSON  has  taken  Mr. 
and  Mrs.  Frank  Case's  house  at 
Malibu  Beach  for  the  summer.  She 
wants  Gloria  II  and  her  small  son  to 
have  the  beach  air  for  a  few  months. 

Ralph  Forbes  and  his  wife,  Ruth 
Chatterton,  have  taken  Anna  Q.  Nils- 
son's  house  until  September  and  will 
spend  as  much  time  there  between  pic- 
tures as  they  can.  Ralph  just  re- 
turned from  the  high  Sierras  and 
brought  with  him  a  tiny  timber  wolf 
cub,  which  he  intends  to  train  as  a  pet. 

GEORGE  HILL,  the  director,  and 
his  bride,  Frances  Marion,  the  sce- 
nario writer,  have  gone  to  China  for  an 
extended  trip. 


The   New   Movie  Magazine 


They  gave  a/7£r 


tin 


THAT'S    WHY    THEY  COT  THERE. ...SO  QUICKLY 


ELINOR      SMITH 

Eighteen  years  old .  .  .  and  she's  risen 
higher  than  any  other  woman  in  all 
world  history.  "Born  with  wings," say 
hard-boiledpilots.'rThekid'sarnaturar 
when  you  put  her  in  a  plane. " 

But  there's  another  young  ace  with 
that  same  story. 

old  gold  hopped  off  just  three  years 
ago.  In  less  than  three  months  it 
zoomed  into  favor.  In  one  short  year 
it  had  climbed  to  the  ceiling.  Today, 
it  holds  the  coast-to-coast  record  .  .  . 
as  America's  fastest  growing  cigarette. 

For,  OLD  GOLD,  too,  is  a  natural  flyer. 
Made  of  better  tobaccos.  Endowed  by 
nature  with  a  new  taste-thrill.  Free 
from  irritants.  More  smoke  pleasure. 
Greater  throat-ease. 

OLD  GOLD,  too,  was  "born  with  wings." 


"Please,  Mister,  c'n  I  fly  it?" 

At  the  crack  of  dawn,  while  her 
family  still  slept,  this  15-year-old 
kid  took  forbidden  flying  lessons. 
"The  Boys"  used  to  call  her  "the 
headless  pilot."  She  couldn't  even 
see   over  the  edge   of  the  cockpit. 


ON  OCTOBER  24,  1926,  the  first  carload  of 
OLD  GOLDS  reached  the  Pacific  coast 
.  .  .  endless  trainloads  have  been  going 
westward  ho  ever  since  .  .  .  with  nary  a 
cough  in  a  carload. 


BETTER      TOBACCOS 


NOT 


COUGH     IN     A      CARLOAD 


103 


Kffi 


Dollar  Thoughts 


But  This  Writer  Likes  Her  Voice 

Oil  City,  Pa.— 

I  think  Greta  Garbo's  voice  was  great 
in  "Anna  Christie."  It  sounds  as  if 
it  is  a  voice  that  can  be  changed  to 
suit  the  character  she  is  playing.  I 
hope  all  her  future  roles  in  pictures 
are  as   interesting  as  this   one. 

Richard  McGinnis, 
108  Highland  Ave. 

Likes  Home  Town  Stories 

Perry,  Iowa. — 

The  articles  contained  in  New  Movie 
are  splendid.  Especially  the  Home 
Town  Stories  of  the  Stars.  We  like 
to  hear  of  their  past  as  well  as  their 
present.  The  pictures  are  certainly 
satisfactory.  It  is  well  balanced,  highly 
entertaining  and  a  dime's  worth.  What 
Scotchman  could  ask  for  more? 

Hildred  L.  Levy, 
1707  Lucinda  Street. 

A  Word  for  Buddy 

Brooklyn,  N.  Y. — 

New  Movie  has  scored  again!  Why? 
Its  immediate  announcement  of  Buddy 
Rogers'  Columbia  recording  had  me 
all  aflutter.  I  walked  a  mile — not  for 
a  Camel —but  for  the  record.  Was  it 
worth  it?  I'll  say  it  was.  Thank  you, 
Mr.  Rogers,  for  making  me  so  happy, 
and  thank  you,  Mr.  New  Movie  Editor 
for  your  prompt  infoi-mation. 

Frances  Engel, 
1121   Avenue   R. 

Answer  to  Fan's  Prayer 

Cleveland,    Ohio. — 

Heavenly  days!  What  a  magazine! 
New  Movie  is  certainly  the  answer  to 
a  movie  fan's  prayer!  If  you  want  to 
"throw  a  party"  that  is  different,  just 
look  up  "How  Hollywood  Entertains" 
in  New  Movie.  And  speaking  about 
latest  styles!  That  magazine  is  full 
of  nothing  else  but.  If  you  have  a 
New  Movie  handy  there's  no  excuse 
for  seeing  a  picture  that  wasn't  "just 
what  you  wanted."  And  boy,  oh  boy! 
The  First  Aids  to  Beauty  are  knock- 
outs! Then — getting  down  to  the  cli- 
max! No  one  in  the  good  old  U.  S.  A. 
or  elsewhere  ever  got  more  for  a  dime 
than    they    get    in    the    New    Movie! 


{Continued  from  page  6) 

The  photos  just  about  knock  your  eye 
out,  and  the  stories  make  you  feel  as 
though  you'd  known  the  star  all  of 
your  life! 

Victoria  Blaich, 
9505  St.  Clair  Ave.,  No.  2.   , 

Defends  Tibbett 

New  York,  N.  Y. — 

I  wish  to  answer  K.  C.  Smith,  when 
he  or  she  said  that  Lawrence  Tibbett 
was  repulsive.  He  talks  of  Tibbett's 
face  being  repulsive.  Is  it  because  of 
its  sincerity,  frankness  and  goodness? 
He  also  mentions  the  fact  that  his 
mouth  is  wide.  Did  K.  C.  Smith  expect 
an  opera  singer  to  sing  through  his 
nose?  As  to  his  hair  being  wild,  did 
K.  C.  ever  see  a  Cossack  bandit  from 
the  Caucasus  Mountains  have  his 
hair  sleeked  back  like  a  parlor  sheik? 
Also,  there  is  no  PERHAPS  about  Mr. 
Tibbett's  singing.  If,  as  you  say,  you 
would  rather  miss  the  song  than  to 
have  to  look  at  him,  it  proves  that 
you're  no  lover  of  music. 

E.  H.  Goerecki, 
339  E.  32nd  Street. 

Used  in   School  Work 

Watsontown,  Pa. — 

You  can't  possibly  realize  what  a 
great  help  your  magazine  has  been  to 
me  in  my  Home  Economics  course. 
You  might  ask,  How  Could  a  Movie 
Magazine  help  you  eat?  But  that  is 
exactly  what  your  magazine  did.  In 
Number  Six  there  was  an  article  about 
"How  Hollywood  Entertains."  The 
menus  which  were  given  brought  me 
an  A-95  on  my  monthly  report  for  the 
best  planned  menu.  Of  course  all  due 
credit  was  given  to  your  magazine  and, 
believe  it  or  not,  all  the  Home  Making 
girls  have  started  to  purchase  your 
magazine  for  use  in  school  work. 
T.  Pauline  Leech, 
General  Delivery. 

Cheers    from   England 

Boston,  Mass. — 

My  family  in  England  are  ardent 
film  fans  and  I  have  always  sent  them 
bundles  of  movie  magazines.  They 
write:  "Don't  bother  to  send  any  but 
your  New  Movie  Magazine.     We  find 


Five  minutes  after  this  picture  was  made,  Raoul  Walsh,  with  uplifted 

hand,  started  the  pioneers  and  their  covered  wagons  on  "The  Big 

Trail,"  which  he  is  making  for  Fox  Pictures 


it  the  snappiest  and  the  best  of  the 
bunch.  Why  should  you  pay  a  shilling 
(25c)  when  you  can  get  The  New 
Movie  for  fivepence  (10c)  ?" 

W.  M.   Reeves, 
109  Peterboro  Street, 
Suite  No.  29. 

Interested  in  Music 

St.  Louis,  Mo. — 

Usually  the  first  thing  I  read  in 
The  New  Movie  is  "Music  of  the 
Sound  Screen."  I  am  an  ardent  lover 
of  music  and  this  department  is  very 
interesting  to  me. 

M.  B., 
3810  Indiana  Avenue. 

Anent  Chevalier 

Woodhaven,  L.  I.,  N.  Y. — 

Someone  doesn't  like  Chevalier,  I 
judge  by  a  letter  in  the  last  issue. 
They  say:  "He  is  not  even  good  look- 
ing." Well,  what  of  it?  He's  bubbling 
over  with  personality.  Lon  Chaney  is 
not  handsome.  Is  he  famous?  Ask  me 
another. 

I  have  two  requests  to  make.  Please 
have  Jean  Arthur  and  Anita  Page  on 
one  of  your  covers.  Please,  please  pub- 
lish this  great  magazine  twice  a 
month ! 

Joseph  Mackey,  Jr., 
8714  95th  Street. 

Praise  for  Herb  and  Adela 

Philadelphia,  Pa. — 

Whoop-la!  So  Herb  is  back!  With 
all  the  old-time  aplomb,  too.  Where, 
oh  where  have  you  been  roving?  To 
those  of  us  who've  been  reading  the 
picture  magazines  since  the  first  few 
flickers  (and  paying  our  quarters  for 
'em,  too)  Herb  Howe  is  sort  of  in- 
dispensably linked  with  film  chat. 
New  Movie  is  lucky  to  have  him  and 
Adela  Rogers  St.  Johns.  This  lady  is 
another  of  our  most  affectionate  fan- 
cies, and  one  of  our  most  persistent 
ambitions  is  to  achieve  something  of 
such  importance  that  Adela  Rogers  St. 
Johns  will  be  asked  to  interview  us! 
How  we  would  enjoy  knowing  per- 
sonally this  charming  writer,  whose 
interviews  are  so  human,  convincing 
and  colorful — and  at  times  "chummy." 
Mrs.  St.  Johns  is  one  of  those  mental 
companions  whom  we  come  to  like  im- 
mensely through  our  reading. 

Elizabeth  A.  Williams, 

304  Arch  Street. 

More   Cheers  for  Herb 

Providence,  R.  I. — 

I  have  been  a  yearly  subscriber  to 
three  of  the  most  popular  movie  maga- 
zines, and  up  to  the  time  when  New 
Movie  Magazine  was  published  en- 
joyed them  very  much.  However,  since 
reading  New  Movie,  I  have  cancelled 
my  subscription  to  the  other  magazines. 
Your  movie  magazine  is  these  three 
all  rolled  into  one.  The  general  set- 
up of  the  book,  to  my  mind,  cannot 
be  improved  upon.  The  covers  are 
most  interesting— a  compliment  for  the 
artist — and,  last  but  not  least,  Herb 
Howe  has  my  congratulations.  I  think 
he  is  superb  in  his  "meditations." 
Anne  Steiner, 
118  Wesleyan  Avenue. 


104 


The  New  Movie  Magazine 


Manage  THESE 
or  they'll  manage  you! 


THERE'S  no  question  about  it,  millions 
of  women  need  help!  With  all  our 
new  devices,  they  still  are  being  bullied 
by  dirt.  Day  after  day,  they  are  work- 
ing too  long  hours  . . .  without  getting 
much  of  anywhere. 

Yet  other  millions  of  wives  and 
mothers  present  such  a  different  pic- 
ture. Their  homes  sparkle.  They  make 
cleaning  seem  easy.  And  they  have, 
every  day,  some  time  for  themselves 
...  to  read  or  ride  or  rest  in ...  to  walk, 
or  visit,  or  go  to  the  movies  ...  to  keep 
as  young  as  their  families. 


Of  course  our  homes  must  be  spic- 
and-span.  That's  what  homes  are  for. 
Everyone  knows  that  when  woodwork 
and  curtains  and  porcelain  and  glass 
get  dingy,  home  happiness,  too,  may 
become  less  bright.  And  we  can  no 
more  get  along  without  fresh  towels 
and  sheets,  and  spotless  table  linen  than 
we  can  put  up  with  dirty  clothing  or 
unwashed  bodies. 

Nevertheless,  now- a -days  there  is 
something  wrong  when  "a  woman's 
work.. .is  never  done."  Two  things,  in 
fact,  we  venture  to  guess:  First,  the 


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105 


Visits   to    the    Famous    Studios 


two  complete  sound  stages.  Two  of 
these  are  monstrous  things  of  steel 
and  concrete.  One  contains  a  com- 
plete theater,  the  largest  hippodrome 
stage  west  of  New  York  City,  for  the- 
atrical spectacles  in  films.  The  stage 
in  this  theater  is  eighty  feet  long, 
eighty  feet  wide  and  eighty  feet  high. 
It  has  every  modern  mechanical  device 
invented.  It  is  this  you  see  in  M.-G.-M. 
pictures  whenever  theatrical  sequences 
are  shown. 

Another  stage,  the  largest  in  exis- 
tence, one  hundred  feet  wide  and  two 
hundred  and  fifty  feet  long,  is  a  steel 
and  glass  semi-enclosed  affair  for  extra 
large  exterior  scenes,  such  as  those 
shown  in  "The  Trail  of  '98."  The  rest 
are  ordinary,  huge  steel  and  wood 
stages  made  soundproof  by  being  lined 
with  a  composition. 

In  these  daily  can  be  seen  Jack 
Gilbert,  Norma  Shearer,  Bill  Haines, 
Marion  Davies,  Ramon  Novarro,  Greta 
Garbo,  Lon  Chaney,  Joan  Crawford 
and  a  host  of  less  famous  players  who 
are  battling  their  way  to  stardom. 

A  GROUP  of  concrete  buildings  is 
to  the  left  as  you  come  in  the 
main  gate.  The  first  three-story 
building  is  the  one  housing  the  execu- 
tives. Irving  Thalberg  is  one  of  them. 
Louis  B.  Mayer  is  another. 

Next  comes  a  three-story  concrete 
wardrobe  building.  In  it  are  tailor  and 
dressmaking  shops,  designers'  offices 
and  storage  space  for  the  more  than 
10,000  dresses  and  costumes  M.-G.-M. 
keeps  on  hand  ready  for  a  moment's 
call.  With  Adrian  and  David  Cox  de- 
signing   them,    and    "Mother"    Coulter 


(Continued  from  page  55) 

supervising  the  making  of  them,  some 
famous  costumes  and  styles  have  gone 
out  to  the  world  from  this  building. 
They  make  the  dresses  worn  by  Garbo, 
Shearer,  Crawford,  and  other  M.-G.-M. 
stars. 

Just  past  the  wardrobe  is  the  pub- 
licity building  and  casting  office.  That 
small  office  to  which  so  many  come 
daily,  only  to  be  told,  "Sorry.  Nothing 
for  you  to  do."  That  sentence  has  sent 
many  a  boy  and  girl  out  into  the  sun- 
light to  wonder  where,  and  when,  they 
will  eat  next. 

Directly  across  from  the  publicity 
building  is  the  commissary.  A  com- 
plete restaurant  with  dining  room, 
lunch  counters  and  soda  fountain.  It 
is  run  on  a  non-profit  basis,  being 
strictly  for  the  convenience  of  the 
studio  employees,  the  stars,  extras, 
cameramen,  directors.  For  years  the 
minimum  number  of  meals  which  have 
been  served  here  in  any  one  day — 
Sundays  excepted — is  one  thousand. 
And  as  many  as  seven  thousand  have 
been  fed  in  one  day  during  heavy  pro- 
duction. It  is  here  that  Louis  B. 
Mayer  entertains  the  entire  studio  at 
a  turkey  dinner  each  year  during  the 
Christmas  holidays.  Never  has  he  had 
less  than  2500  guests.  The  commissary 
has  its  own  ice  and  carbonating  plant. 

Directors'  Row  rises  two  stories  and 
runs  away  from  one  side  of  the  com- 
missary. Here  sit  Bob  Leonard,  Sam 
Wood,  Jack  Conway,  Harry  Beaumont 
and  other  directors,  figuring  out  how 
they  will  shoot  scenes  which  will  meet 
with  your  approval. 

Around  the  corner  we  come  to  the 
fan-mail     department.       Seven     clerks 


handle  an  average  of  38,000  letters  a 
month  addressed  to  the  stars.  They  are 
in  reality  a  miniature  postoffice  staff, 
sorting  the  letters  and  seeing  that 
each  star  gets  his  sackful  every  day. 
It  is  these  men  who  do  the  work  of  ad- 
dressing and  sending  pictures  of  the 
players  to  those  who  request  them. 

STROLLING  further  about  the  fifty- 
three  acre  lot  we  run  into  stages 
back  to  back,  stages  stuck  off  in  corners, 
sets  all  over  the  place.  A  building  for 
music  and  dance  rehearsals,  a  record- 
ing building  where  the  voices  you  hear 
are  put  upon  wax  and  sent  to  your 
theater.  A  camera  building.  Near  it 
the  projection  rooms,  where  daily  the 
"rushes"  are  viewed. 

Over  there  is  the  big  electrical  build- 
ing. The  M.-G.-M.  studio  uses 
2,500,000  kilowatts  of  juice  a  year.  It 
has  a  "connected  load"  of  35,000  horse- 
power— more  than  enough  to  light  a 
city  the  size  of  Reno,  Nevada. 

Coming  around  the  corner  of  a  stage 
you  see  bungalows  which  nestle  into 
the  ground  and  look  like  dream  houses. 
These  belong  to  the  stars.  Then  the 
make-up  department,  where  men  who 
are  artists  in  their  line  study  and 
worry  about  how  they  can  make  up 
pretty  faces  so  that  they  will  look 
prettier. 

A  little  schoolhouse  for  child  actors. 

And  more  sets. 

MORE  than  3,000,000  feet  of  lumber 
a  year  are  used  in  building  sets. 
15,000  gallons  of  paint.  250  tons  of 
plaster.  4,000  sacks  of  cement.  15,000 
tons  of  rock.  600  bales  of  plaster  fibre. 
300,000  feet  of  wallboard.  These 
figures  are  for  material  for  the  build- 
ing of  sets  only.  They  do  not  include 
the  materials  used  to  build  stages  and 
buildings. 

The  telephone  system  at  M.-G.-M.  is 
a  1200-unit  central  switchboard.  It 
is  more  than  big  enough  to  adequately 
serve  a  city  of  3,000  people. 

A  foot  is  twelve  inches.  That  is 
understandable.  But  it  is  hardly  pos- 
sible to  imagine  a  strip  of  film 
50,000,000  feetlong.  Yet  that  is  the 
amount  used  in  the  Metro-Goldwyn- 
Mayer  studio  yearly. 

Even  so,  it  is  doubtful  if  it  is  any 
more  difficult  for  us  to  visualize  that 
strip  of  film,  than  it  would  have  been 
for  Tom  Ince,  looking  at  those  acres  of 
sagebrush  and  waste  land  in  1914,  to 
have  pictured  the  M.-G.-M.  studio  as  it 
is  today,  with  its  120  buildings,  its 
2500  employees,  its  features  he  had 
never  conceived.  It  is  indeed  a  far 
cry  from  that  dinky,  rickety  one  stage 
he  first  erected  to  the  ten  thousand 
people  who  were  on  the  lot  at  one  time 
during  the  shooting  of  "Ben  Hur." 

For  that  is  motion  pictures.  That  is 
romance. 

Culver  City  is  now  boasting  of  13,000 
as  her  population.  That  real  estate 
gent — Harry  Culver — is  a  multimillion- 
aire today. 


Next  month  NEW  MOVIE  will  present  another  fascinating  installment 
of  Lila  Lee's  life  story.     Be  sure  to  watch  for  it. 


Next  month  NEW  MOVIE  will  pre- 
sent a  tour  of  another  leading  Cali- 
fornia studio.  Watch  this  series- — ■ 
and  learn  all  about  picture  making. 


106 


The   New  Movie  Magazine 


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107 


Hollywood's  Successor  to  IT 


(Continued  from  page  39) 


the  local  girls  to  consult  their  mirrors. 
They  saw  themselves  happy  little  rich 
girls  in  their  casual  sweaters  and 
skirts,  their  illustration  of  Bohemian- 
ism. 

As  an  answer  to  the  stage  imports, 
Hollywood  offered  Lilyan  Tashman  as 
its  best-gowned  woman.  Hollywood 
meant  its  best-wardrobed,  for  Dolores 
del  Rio,  Norma  Shearer,  Evelyn  Brent, 
Dorothy  Mackaill  and  Pauline  Freder- 
ick bow  to  no  better-frocked  female. 

WITH  such  a  jockeying  for  suprem- 
acy going  on  in  more  mature 
quarters,  the  flapper  awoke  one  gloomy 
morn  to  find  herself  playing  second 
fiddle.  She  discovered  she  had  been 
standing  still,  content  merely  to  hey- 
hey  and  take  the  bow. 

In  desperation,  she  has  pulled  herself 
together,  and  from  the  confusion  of 
new  styles,  new  influences,  new  compe- 
tition, the  modern  girl  of  Hollywood  is 
beginning  to  find  her  new  personality. 

She  has  split  into  three  camps  in  the 
search  for  herself. 

She  is  the  clear-eyed  prototype  of 
Lilyan  Tashman. 


She  is  the  Loretta  Young  miss. 

She  is  the  rebel  who  ridicules  her 
more  cautious  sister  and  continues  to 
say  it  in  actions. 

Now  the  Lilyan  Tashman  edition  has 
cultivated  her  eyebrows  as  an  emphatic 
means  of  expression.  She  speaks  in  a 
drawl.  She  deliberately  sentences  her 
lithe  body  to  be  a  clothes  horse.  She 
converses  in  a  bored  way  about  diet,  but 
is  cautious  to  keep  to  non-fattening 
foods.  She  will  flirt  naughtily,  but  not 
conspicuously.  She  is  so  discreet  she 
cannot  be  gossiped  about.  She  mas- 
caras her  lashes.  Her  lips  bloom  ruby 
red.  There's  cosmetic  color  in  her 
cheeks  and  not  a  shine  on  the  skin  that 
boys  crave  to  touch.  An  artful,  wise 
girl,  this  Lilyan  Tashman  edition. 

But  the  Loretta  Youngs!  Ah,  they 
brighten  the  hopes  of  an  older  genera- 
tion who  for  lo,  these  many  years,  have 
sighed  that  the  young  ones  of  today  are 
headed  straight  for  perdition  and  sani- 
tariums. The  Loretta  Youngs  are 
sweetly  prepared  for  public  appear- 
ances. They  melt  in  the  presence  of 
men.  You  have  a  sneaking  suspicion 
they'd  try  a  swoon  should  a  convenient 


Tlipk  I — Little  Mary  Korn  man  and  Mickey  Daniels  were   members 
■    ■   1  LI  N  of  "Our  Gang"  not  so  many  years  ago. 


y 


k  |/'""\\ A / — Miss   Kornman   and   Mickey  have   grown  up  in  the  films 
INx^  YY      and   they  are   appearing   in   a    new   Hal    Roach    series, 

"The  Boy  Friends." 


mouse  scamper  in  sight.  No  more  fin- 
ger-snapping freedom.  This  modern 
girl  goes  in  for  what  grandmother  did 
when  grandmother  practiced  her  cun- 
ning wiles.  Yet  she  is  firm  when  the 
occasion  demands  it.  As  witness  Lo- 
retta Young  herself. 

Loretta  is  a  nice  child.  She  minded 
her  mother,  until  she  eloped  with  Grant 
Withers.  Her  mother  battled  to  have 
the  marriage  annulled.  Loretta  refused 
flatly.  She's  modern,  all  right,  with 
that  streak  of  fine  steel  threading 
through  an  otherwise  pliable  tempera- 
ment. 

THE  rebel  of  today  is  looked  upon 
by  the  other  two  factions  as  a  bit 
hoydenish.  She  lives  (figuratively 
speaking)  across  the  railroad  tracks  in 
the  mysterious  part  of  town.  In  pub- 
lic she  still  takes  her  liquor  and  her 
men  straight.  If  her  nose  glistens, 
its  jolly  well  none  of  your  business.  She 
swears  robustly  and  at  times  her  knees 
may  defy  regulations  and  salute  the 
sunshine.  She  goes  everywhere,  but  she 
prefers  to  couple  off  in  groups.  She's 
a  slender  poo-poo-de-pah-doo  infant 
and  her  wisdom  puts  the  Sphinx  to 
shame.  She's  a  marathoner  when  it 
comes  to  late  hours  and  making  who- 
cares. 

Now  Hollywood's  three  flapper  suc- 
cessors declare  a  truce  on  one  point. 
They  defend  themselves  against  possi- 
ble criticism  with  the  gentle,  surprised 
query:  "Why  shouldn't  I  do  this  or 
that?  Everybody  does  it."  They  look 
upon  the  older  group  with  misgivings. 
They  let  them  severely  alone,  but  they 
study  them. 

The  harum-scarum  Clara  Bow  has 
accepted  the  new  order.  Clara's  bob  is 
shingled  and  nestles  to  her  head  in- 
stead of  reaching  for  the  clouds.  She 
hasn't  that  "poured  into  her  clothes" 
look  any  more.  Lupe  Velez,  who  joined 
the  flap  brigade  when  she  spiced  to 
town,  has  quieted  down. 

I  tell  you,  Hollywood  has  grown  up. 
Sex  appeal  hides  behind  long  skirts  and 
four  walls.  "IT"  has  taken  its  place 
as  a  neuter  pronoun  and  not  a  blaze. 

Hollywood  has  buried  the  old-time 
flapper.  The  tantalizing,  "soft  pedal" 
or  "everybody  does  it"  girl  is  here. 

Perhaps  tomorrow  you  will  see  her, 
a  merger  of  the  three  types  that  have 
subdivided  youth  today.  She  will  be 
frocked  with  the  smartness  of  a  Tash- 
man. At  social  affairs,  she  will  mas- 
cara her  lashes  and  ruby  her  lips  to 
the  jeweler's  taste.  She  will  affect  the 
demureness  of  a  Loretta  Young,  in 
quaint  contrast  to  the  sophistry  of  her 
appearance.  She  will  appreciate  the 
brilliance  of  such  a  contrast,  will  this 
"soft-pedal"  girl.  She  may  permit  her- 
self the  luxury  of  poo-poo-de-pah-doo 
moments.  Particularly  if  she  wishes 
the  center  of  the  stage  and  one  pair 
of  masculine  eyes  devoted  exclusively 
to  her. 

She  will  be  a  fresh,  glowing,  swank 
figure,  this  vivid  whoopee  child.  She 
will  have  the  poise  of  a  Palm  Beach 
heiress,  the  eclat  of  a  Mrs.  Beau  Brum- 
mell,  and  the  pep  of  a  Marie  Dressier 
grand-daughter. 

What  a  girl ! 


108 


The  New  Movie  Magazine 


How  Hollywood 
Entertains 


(Continued  from  page  75) 


•Mrs.  Harold  Lloyd.  Rose  pink 
crepe  de  chine  with  a  delicate  collar 
of  embroidery  and  a  pink  maline  eve- 
ning hat  to  match. 

Blanche  Sweet.  Sapphire  blue  satin, 
cut  in  severely  simple  lines  and  falling 
to  the  floor. 

Marion  Davies.  Powder  blue  chif- 
fon, low  in  the  back,  with  a  beauti- 
fully draped  skirt. 

Mrs.  John  Boles.  Black  and  white 
printed  chiffon,  with  a  rather  long 
cape,  falling  to  the  waist  behind.  The 
print  was  arranged  to  give  decoration 
to  the  dress  in  the  cape  and  around 
the  bottom  of  the  skirt. 

Leatrice  Joy.  Delicate  green-blue 
crepe  de  chine,  with  a  small,  tucked 
vest  of  shell  pink  chiffon. 

Lois  Wilson.  Black  chiffon,  with  a 
big  print  of  beige  and  rose.  The  low 
neck  was  outlined  with  a  soft  ruffle  of 
the  same  material.. 

Mary  Eaton.  Print  chiffon,  in  very 
gay  colors,  made  with  a  ruffled  skirt 
and  delicate  ruffles  about  the  neckline 
and  falling  over  the  shoulders. 

Julanne  Johnson.  Caramel  tulle  over 
taffeta  of  the  same  color.  The  dress 
was  tucked  to  give  it  a  line  close  to 
the  figure. 

Olive  Tell.  White  chiffon,  heavily 
weighted  with  pearl  beads  and  rhine- 
stones,  and  with  a  square  cut  cape  fall- 
ing to  the  waist. 

Louella  Parsons.  Allover  black  lace, 
with  a  draped  skirt  and  a  low-cut  back. 

Mrs.  George  Archainbaud.  Black 
chiffon,  over  ivory  satin,  shirred  in  a 
straight  line  down  the  front. 

Eileen  Percy.  Black  and  white 
print,  belted  at  the  waist. 

Mrs.  Phyllis  Daniels,  mother  of  the 
bride-to-be,  wore  a  gown  of  beige  all- 
over  lace,  and  Mrs.  George  Butler  Grif- 
fen,  Bebe's  famous  grandmother,  was 
in  black  chiffon  and  diamonds.  Mrs. 
Lyon,  Ben's  mother,  was  in  lavender 
chiffon,  and  his  two  sisters,  who  arrived 
from  the  East  for  the  wedding  festiv- 
ities, were  in  print  chiffons,  in  green 
and  blue. 

Mrs.  Owen  Moore.  All  black  chiffon 
with  a  square  neckline,  to  the  waist 
in  the  back. 

Mrs.  Abraham  Lehr.  Ivory  white 
satin,  with  flowing  panels  to  the  floor. 

Here  is  the  recipe  for  the  "Fitzmau- 
rice  hash,"  which  has  received  so  many 
compliments.  Many  hostesses  in  Holly- 
wood make  some  special  dish  peculiarly 
their  own,  and  serve  it  for  large  par- 
ties, just  as  the  Fitzmaurices  serve 
this  popular  dish: 

Take  onions,  eggplant,  and  ripe  to- 
matoes. Slice  in  rounds,  as  for  salad. 
Brown  in  an  iron  pan  with  plenty  of 
butter.  Place  a  layer  of  eggplant, 
onion  and  tomato,  when  browned,  in  a 
casserole.  Salt  and  pepper  liberally 
and  add  a  touch  of  cayenne.  Then  add 
a  layer  of  about  two  inches  thick  of 
raw  round  steak,  repeat  this  until  the 
casserole  is  full,  with  a  layer  of  the 
meat  on  top.  Place  in  a  slow  oven  for 
about  twenty  minutes.  Then  increase 
the  fire  until  it  is  hot  and  allow  to 
bake  until  the  meat  is  thoroughly 
browned. 


No  more  hot,  steamy 

kitchens  on  washday 

yet  a  whiter  wash  with  far  less  work 


NO  NEED  now  for  sweltering  wash- 
days! For,  no  matter  how  hot  the 
weather,  you  can  keep  your  kitchen  nice 
and  cool  every  washday.  Just  let  Rinso  soak 
your  clothes  snowy,  without  scrubbing  or 
boiling.  Saves  clothes — saves  you. 

"Rinso  is  the  best  soap  ever  for  our  hard 
water,"  writes  Mrs.  N.  Belles  of  Syracuse, 
N.Y. 

We  have  received  thousands  of  letters 
from  delighted  Rinso  users.  "Makes  rich, 
lasting  suds  in  a  jiffy,"  says  Mrs.  M.  West 
of  Washington,  D.  C.  Twice  as  much  suds, 
cup  for  cup,  as  lightweight,  puffed-up  soaps! 

In  washers,  too — it's  great! 

Rinso  is  all  you  need,  even  in    hardest 


Millions  use  Rinso 

in  tub,  washer  and  dishpan 


water;  no  bar  soaps,  chips,  powders,  soft- 
eners. The  makers  of  38  leading  washing 
machines  recommend  Rinso  for  safety  and 
for  whiter  clothes.  Its  thick,  creamy  suds 
are  safe  for  the  finest  linens. 

And  Rinso  is  marvelous  for  washing 
dishes,  for  cleaning  sinks,  walls,  floors, 
windows,  bathtubs! 

If  you  haven't  tried  Rinso,  a  full-sized 
package  will  be  sent  you  free.  Just  send 
your  name  and  address  to  Lever  Brothers 
Co.,  Dept  W-158,  Cambridge,  Mass. 

Guaranteed  by  the 


109 


A  Fool  and  His  Honey 


all  the  fashionable  show  places,  and 
Mr.  Wick  took  up  the  wearing  of  a 
cane  and  began  to  think  of  having  his 
ears  bobbed.  Miss  Effingham  purred 
like  a  kitten.  She  had  begun  to  appre- 
ciate the  width  of  the  invisible  gap  that 
separated  the  film  colony  from  the 
Eastern  interlopers,  but  the  husbands 
were  beginning  to  grow  curiously  rest- 
ive, and  that  was  enough  to  get  her 
talked  about  by  the  Beverly  Hills  wives. 

BUT  for  the  slighted  Marjorie  there 
was  no  content.  Rumors  reached 
her,  and  left  her  in  that  state  where  a 
woman  hovers  between  a  spree  on 
champagne  or  hats.  She  chose  the  hats, 
telling  herself  that  Mr.  Squibb  had  the 
right  idea.  Who,  after  all,  would  go 
gunning  for  the  homespun  Jelly  Roll? 
Certainly  not  a  new  York  gasper  who 
made  an  equally  high  salary.  So,  to 
show  how  sweetly  she  bore  her  loneli- 
ness, she  rang  up  her  straying  suitor. 

"Of  course,  I  haven't  forgotten  you," 
bellowed  Mr.  Wick  to  her  plaintive 
question.  "Listen,  Marjorie,  it's  just 
business  that's  all.  She  says  I'm  so 
kind  it  helps  her  to  do  good  work,  and 
so  far  as  I'm  concerned  she  isn't  a  real 
woman  like  you.  She's  more  like  a  god- 
dess, see,  on  the  line  of  those  statues 


An  attractive  ensemble  for  the  seaside, 
presented  by  Jean  Arthur.  The  trousers 
are  of  cream  satin.  The  satin  jacket  is 
of  red,  white  and  blue  stripes.  With 
this  Miss  Arthur  wears  a  sun  hat  of 
leghorn. 

110 


(Continued  from  page  49) 

over  in  the  museum.  You  know,  the 
kind  the  Greeks  looked  up  to  before 
they  married  ordinary  girls." 

"Like  me?" 

"Sure,  like  you — no.  No,  I  mean " 

"So  you  worship  her,  eh?"  shrilled 
Miss  Berry,  forgetting  that  she  was 
going  to  be  sweet  if  it  killed  her.  "God- 
dess your  eyebrow!  Whoever  heard  of 
one  coming  from  the  slag  heaps  of 
Pennsylvania?" 

"I  haven't  even  kissed  her,"  soothed 
the  comedian,  neglecting  to  mention 
that  Adrienne  had  been  too  alert  to 
give  him  the  chance.  He  waited  for 
an  apology,  but  all  he  received  was  a 
severe  shock  to  his  eardrums  as  she 
slammed  down  the  receiver. 

The  second  week  found  the  picture 
well  under  way,  and  the  rapidly  swell- 
ing Jelly  Roll  became  the  center  of  at- 
traction. The  mosquito-like  Mr.  Eppus 
Squibb  and  the  director  went  into  a 
huddle  with  him  over  his  big  scenes. 

"Speaking  personal,"  said  the  seventh 
vice-president,  "if  I  was  an  audience 
I'd  be  looking  for  a  laugh  about  this 
point.  All  that  hash  of  uniforms,  love 
and  you-ho-ho  choruses  gets  kind  of 
sticky,  so  here's  where  you  come  in. 
While  Tremont's  gargling  his  first  num- 
ber to  the  gal  we'll  show  a  shot  of  you 
up  in  the  rigging  with  that  dead  pan 
look.     See?" 

Mr.  Wick  congealed  a  trifle.  "Yawss," 
he  nodded,  copying  Tremont's  accent. 

"Yawss!"  mimicked  Mr.  Squibb. 
"What  kind  of  gab  is  that  for  a  crack- 
pot like  you?  Listen,  when  the  song 
ends  you  shriek  like  a  five  o'clock 
whistle,  do  a  twenty-foot  fall  into  a 
barrel  of  flour,  which  busts  apart,  and 
you  come  out  looking  like  a  charlotte 
russe.  You  jump  up  and  start  whirl- 
ing around,  and  what  is  there  but  a 
couple  of  giant  lobsters  biting  you." 

"No,"  said  Jelly  Roll,  taking  the  bit 
in  his  teeth,  "I  won't  do  it.   It's  coarse." 

"I  hope  to  tell  you  it's  coarse,"  yelled 
the  director.  "What  do  you  think 
you're  here  for?  Don't  uncork  that  'No' 
again,  either." 

"No,"  repeated  the  desperate  come- 
dian. "I'm  up  here  in  a  six-reeler  and 
I  want  to  be  funny  in  a  nice  way.  Re- 
member the  letter  scene  in  'Disraeli'? 
Boy,  that's  what  I  call  subtle  humor, 
and  I  can  put  myself  over  like " 

"I'll  'Disraeli'  you!"  bawled  Mr. 
Squibb,  "and  in  addition  I'll  subtract  a 
fine  off  your  wages  for  insub — insub — 
well,  you  know  what  I  mean.  Go  ar- 
tistic right  under  my  nose,  would  you? 
The  next  thing  I  know  you'll  be  paint- 
ing a  poached  egg  and  telling  me  it's  a 
sunset.  Shinny  up  that  rigging  be- 
fore I  forget  I  got  liver  trouble." 

MR.  WICK  cast  a  pleading  eye  at  the 
voluptuous  prima  donna,  whose 
costume  consisted  principally  of  beads, 
a  strange  interlude,  and  more  beads. 
Strangely  enough,  she  showed  little 
sympathy  and  shook  her  head  in  disap- 
proval. The  disheartened  Jelly  Roll 
backed  down  without  further  argument 
and  fell  seven  times  before  Mr.  Squibb 
offered  grudging  congratulations. 

He  made  two  more  objections  during 
the  day,  but  was  bullied  into  working 
in  his  tried  and  true  fashion,  and  at 
five  o'clock  he  waddled  over  to  Miss  Ef- 
fingham like  a  chastised  poodle.     That 


Guess  who  this  is.    Who?    Wrong.    It's 

Lon  Chaney,  as  Mrs.  O'Grady  in  his  new 

talkie  version  of  "The  Unholy  Three." 

lady's  tigerish  glance  was  roving  rest- 
lessly around  the  studio  and  she  showed 
no  delight  in  his  presence. 

"Can  you  tie  those  fellows?"  moaned 
Jelly  Roll.  "Here  I  am  all  broken  out 
with  ideas  and  they  squelch  me.  It  cer- 
tainly will  be  a  relief  to  drive  down  to 
Santa  Ana  with  you  this  evening." 

"Not  with  me,"  said  Adrienne,  who 
seemed  covertly  excited.  "I — I  feel  one 
of  my  old  headaches  coming  on,  mostly 
due  to  you  and  your  complaining  on 
the  set.  Look,  Jelly,  who's  that  hand- 
some chap  who  came  in  a  few  moments 
ago — isn't  he  Keats  Knollcrest?" 

Mr.  Wick  inspected  a  blind  Apollo 
who  was  fluttering  his  eyelashes  at 
nothing  in  particular.  "Sure,  it's  Knoll- 
crest," he  answered.  "He's  just  been 
divorced  and  he's ' 

"Really?"  cooed  Miss  Effingham, 
making  all  her  beads  quiver.  "How 
gra — oh,  my  poor  head!  Well,  good- 
night, Jelly,  see  you  tomorrow,  and  re- 
member, I'm  angry  with  you." 

She  undulated  away,  and  Mr.  Wick 
trudged  gloomily  to  his  dressing-room, 
washed  up  and  became  surprised  that 
a  broken  heart  is  not  the  tragedy  it's 
cracked  up  to  be.  The  proper  pro- 
cedure would  have  been  to  go  out  and 
howl  at  the  moon,  but  by  supper  time 
he  was  beaming  contentedly  across 
some  corned  beef  and  cabbage  at  Pto- 
maine Tommy's,  and  Miss  Marjorie 
Berry  was  twinkling  right  back  at  him. 

I'M  coming  to  watch  you  work  to- 
morrow," she  promised.  "My  but 
it  will  seem  queer  to  see  you  in  a  big 
place  like  Fascination.  And  of  course 
I'm  not  jealous,  because  you  don't  look 
a  bit  lovesick,  but  how  did  you  manage 
to  slip  away  from  your  goddess?" 

"Lay  off,"  grinned  Mr.  Wick.  "She 
— she  just  wanted  to  rest  up  for  the 
big  farewell  scene  we're  going  to 
shoot.  And  say,  I've  got  plans  for  my 
stuff  that  will  give  it  what  the  pub- 
licity calls  a  lyrical  note." 

So  Marjorie,  bred  in  the  rough  and 
tumble  school  of  two-reelers,  came  into 
the  studio  the  next  morning  wonder- 
ing if  she  were  in  her  right  senses, 
for  there  was  her  hero  with  his  back 
to  the  wall. 


The  New  Movie  Magazine 


"NO!"  he  was  shouting.  "I've  given 
way  to  everything  else,"  but  not  this. 
It's  due  me,  I  tell  you,  and  it's  my  am- 
bition to  be  wistful.  I  want  a  fadeout 
that'll  leave  a  catch  in  the  throat." 

"I'll  give  you  the  same  sensation 
with  a  rope,"  threatened  Mr.  Squibb, 
hopping  with  -rage.  "I'm  telling  you, 
don't  go  nuts  no  more.  The  finale  calls 
for  the  pirate  ship  to  fire  a  salute  to 
their  head  man  and  his  captured  girl 
friend.  Twenty  cannons  go  off,  and 
then,  from  the  twenty-first,  where 
you've  been  sleeping,  comes  you.  We'll 
jerk  you  into  the  air  with  an  invisible 
guy  line,  drop  you  on  the  bowsprit, 
where  you  hang  by  your  suspenders, 
and  then,  while  you  deliver  the  line,  'I 
can  hear  the  caskets  coffin','  the  bow- 
sprit cracks  and  you  disappear  into  the 
mouth  of  a  property  whale.  A  wow, 
positively.  It  took  three  men  eight 
days  to  concoct  that  sequence,  and  I 
don't  want  no  squawks,  get  me?" 

"You  don't  want  Art,  either.  My 
idea  is  to  have  a  scene  showing  that 
I'm  secretly  in  love  with  the  princess, 
and  then,  as  she  sails  away  with  her 
pirate,  I  sit  there  wearing  an  agonized 
smile  and  looking  wistfully  across  the 
sea.  After  all  the  slapstick  I've  pulled, 
it'll  seem  all  the  more  tragic.  Why, 
Miss  Effingham  told  me " 

"I  .might  have  told  him  anything," 
drawled  the  prima  donna.  She  was 
looking  a  bit  puffy  about  the  eyes  and 
she  glared  malevolently  at  the  earnest 
Jelly  Roll.  "You  sap,"  she  said  with 
cruel  distinctness,  "don't  you  know  I've 
been  kidding  you  along  just  so  I'd  be 
sure  of  an  escort?  When  you  told  me 
why  the  movie  stars  were  freezing  I  de- 
cided to  make  a  play  for  you  because 
you're  famous  enough  in  your  uncouth 
way.    And  now  Mr.  Knollcrest " 

"I  thought  he  was  lounging  around 
for  that,"  gulped  Jelly  Roll.  "I  was 
going  to  warn  you,  too,  but  I  suppose 
he  spoke  to  you  and " 

"No  dearie,  I  spoke  to  him.  Why, 
I've  admired  him  for  years.  And  so, 
my  oversize  friend,  you  can  fly  your 
kite  and  not  hold  up  this  picture  with 
any  more  gush  about  your  art.  You 
clown!" 

MR.  WICK  resembled  a  punctured 
blimp  as  he  stared  at  the  goddess 
who  had  turned  out  to  be  clay  to  the 
knees,  at  least.  His  mouth  sagged  open 
as  he  tried  to  think  of  a  retort,  but 
he  was  saved  the  strain.  A  compact, 
blazing-eyed  redhead  had  jumped  into 
the  center  of  the  stage. 

"You  bet  he's  a  clown!"  she  cried. 
"And  a  good  one,  too.  Jelly,  this  Broad- 
way gasper  admits  you're  famous. 
What  made  you  that  way?" 

"Two-reelers,  I  guess." 

"You  bet  it  was.  So  get  in  there 
and  be  funny — be  yourself!" 

"Aw,  but  listen,  honey " 

"Get  in  there,"  repeated  Marjorie, 
"or  you'll  never  have  the  chance  even 
to  ask  me  for  the  right  time.  You  and 
your  wistf ulness !  You'd  be  a  laugh 
all  right,  but  not  in  the  way  you  im- 
agine. I've  helped  you  to  make  a  lot 
of  successes,  Jelly,  and  I'm  not  going 
to  see  a  pair  of  musical  comedy  cana- 
ries steal  a  picture  from  you  now.  Snap 
to  it!" 

Mr.  Wick  snapped.  Uncomplaining, 
he  spent  half  a  day  of  hoisting  and 
falling,  splashing  and  roaring.  He 
managed  to  add  considerable  mugging, 
wherein  his  moonface  took  on  more 
than  slight  burlesque  of  La  Effingham's 
coyest  expressions,  and,  working  with 
(Continued  on  page  112) 


.    / 


facts 


every  woman  should 
know  about  the  UNIT 

beauty  bath 

and  its 

instant  results 


Here  is  the  way  women  every- 
where are  using  the  new  Unit 
Beauty  Bath  for  a  soft,  smooth  skin: 
they  merely  dissolve  half  a  package 
of  Unit  in  the  bath  and  bathe  as  usual, 
using  their  favorite  soap.  Then — 

Velvet  couldn't  be  smoother  than 
your  skin  after  a  Unit  Beauty  Bath. 

This  soft,  satiny  "feel"  you  enjoy 
comes  from  an  invisibly  thin  "layer" 
of  Unit— left  on  the  skin  after  the  bath. 
This  porous  coating  of  powder  is 
evenly  spread  — not  in 
spots  that  it  may  clog 
the  pores  —  but  thinly 
and  evenly  distributed 
over  all  parts  of  the 
body. 


And  the  most  astonishing  thing 
about  this  new  Unit  Beauty  Bath  is  not 
only  its  low  cost,  but  that  the  results 
are  immediate.  You  need  not  wait 
weeks  for  some  sign  of  improvement 
—instantly  you  sense  the  refreshing 
difference  in  your  skin. 

Pure  starch  from  corn  is  the  basic 
ingredient  of  Linit.  Being  a  vegetable 
product,  it  contains  no  mineral  prop- 
erties to  irritate  the  skin.  Doctors 
who  specialize  in  the  treatment  of  the 
skin,  regard  the  purity 
of  starch  from  corn  so 
highly  that  they  gen- 
erally recommend  it 
for  the  tender  skin  of 
young  babies. 


LINIT  is  sold  by  your  GROCER 

the  bathway  to  a   soft,  smooth  skin 


in 


A  Fool  and   His  Honey 


a  sure-fire  touch  of  the  ridiculous,  he 
had  Mr.  Squibb  and  several  other  offi- 
cials leering  their  praise,  for  the  prima 
donna  was  far  from  popular. 

"117 ISE  guy,"  snarled  the  lady,  when 
VV  the  day  was  over.  "Had  to  have  a 
woman  save  you,  eh?  Well,  she's  wel- 
come. I'm  wise  to  Hollywood  now  and 
Mr.  Knollcrest  wouldn't  want  me  to 
bother  with  you." 


(Continued  from  page  111) 

"I  don't  wonder,"  said  Mr.  Wick 
lightly,  "seeing  that  he'll  be  plenty  of 
bother  himself." 

"What  do  you  mean?"  Adrienne's 
eyes  narrowed  suspiciously. 

"He'll  probably  propose  to  you  inside 
a  week." 

"Well?" 

"Seeing  you  really  know  Hollywood, 
old  kid,"  said  Jelly  Roll,  growing  reck- 
less, "of  course  you've  heard  that  Knoll- 


crest is  a  flop  in  the  talkies  and  that 
his  contract  has  been  allowed  to  lapse. 
That's  why  his  wife  divorced  him." 

"Wh— what?" 

"And  that  he's  boasted  he  can  trick 
some  Broadwayite  into  marrying  him 
for  his  profile." 

"You  wretch!"  screamed  Miss  Effing- 
ham. "And  I  thought  you  were  fond  of 
me.     Why  didn't  you  say  something?" 

"I  tried  to  last  night  but  you 
wouldn't  listen,"  said  the  comedian, 
looking  his  stupidest.  "Say,  keep  a 
date  open  about  a  week  from  Friday, 
will  you?" 

"After  the  way  I've  talked  to  you! 
Why,  Jelly,  is  it  some  big  event?" 

"Sort  of,"  grinned  Mr.  Wick  wig- 
gling his  eyebrows  at  the  radiant  Mar- 
jorie,  "and  I'd  hate  to  have  you  miss 
it.  Y'see,  I've  got  an  idea  that  that's 
the  day  I'm  going  to  be  married." 


r\  NE  month  later  the  Chortle  Come- 
^-/  dies  Studio  buzzed  with  achieve- 
ment as  the  making  of  "Jury  Fury" 
went  forward  without  a  hitch.  The  old 
standby,  Jelly  Roll,  playing  a  slightly 
squiffed  judge,  had  just  received  a 
lemon  meringue  pie  where  it  would  do 
the  most  good,  and  now  was  registering 
rage  through  the  welter  of  goo. 

"A  pip,"  laughed  the  director,  after 
signaling  to  the  monitor  man.  "Here, 
somebody,  wipe  off  Mr.  Wick's  face  so 
he  can  breathe.  Jelly,  old  sock,  I  saw 
the  premiere  of  'The  Pirate's  Princess' 
last  night,  and  you  were  a  riot." 

"And  did  you  read  the  critics?" 
thrilled  the  copper-haired  Mrs.  Wick. 
"One  says  he  was  guilty  of  robbery  and 
another  claims  the  way  he  burlesqued 
the  lovers  was  'a  delicious  bit  of  sly 
humor.'  And  the  highest-browed  one 
of  all  wants  to  know  where  Jelly  Roll 
has  been  hiding,  and  calls  him  'deft'! 
Just  what  he  always  wanted." 

"Aw,  I'm  not  so  hot,"  said  Jelly  Roll 
modestly.  "It's  no  trick  to  cop  a  pic- 
ture from  a  couple  of  singing  clothes 
horses,  providing  a  comic  sticks  to  his 
art." 

"His  what?"  asked  the  startled  di- 
rector.    "You  mean  that  hokum " 

"Is  A-R-T.  I  certainly  do,  Joe,  just 
as  much  as  bleating  about  your  noble  in- 
tentions in  High  C.  I  suppose  I'll  have 
to  save  a  weak  feature  now  and  then  if 
Squibb  sends  for  me,  but  I'm  glad  to 
be  back  here.  That  last  scene,  now; 
you  liked  it?" 

"Aces  up,  Jelly  Roll;  you've  never 
been  funnier." 

"We-e-ell,  I'm  not  so  sure,"  said  Mr. 
Wick  thoughtfully,  his  glance  taking 
in  the  stack  of  emergency  lemon  me- 
ringues, then  switching  from  them  to 
the  pie-thrower.  "An  artist  should  al- 
ways be  striving  for  perfection,  so  my 
wife  says,  and  that  goes  for  me  too. 
Sock  me  again — I  like  it!" 


A  strip   of   sound   film,  enlarged.     This   is   the  way   Buddy   Rogers   and    Nancy 

Carroll  appear  alongside  their  voices  in  an  episode  of  the  golf  film,  "Follow  Thru, 

in  which  they  co-star.     The  sound  track  appears  between  the  sprocket  holes  and 

the  pictures  at  the  left.     The  cross  lines  are  the  voice  records. 

112 


Watch  for  more  sparkling  fic- 
tion in  future  issues  of  NEW 
MOVIE.  Several  corking  short 
stories  are  outlined  for  early 
numbers  of  NEW  MOVIE. 


The  New  Movie  Magazine 


First  Aids  to  Beauty 

{Continued  from  page    98) 


a  strenuous  diet,  but  they  still  do  not 
change  their  exercise  habits.  For 
eighteen  days  they  live  on  grapefruit 
and  toast  melba.  They  lose  a  few 
pounds,  stop  the  diet  and  promptly 
gain  back  their  weight  again.  Some- 
times, because  they  are  too  strict  about 
the  diet,  they  suffer  from  stomach  dis- 
orders and,  to  put  it  mildly,  a  bad  dis- 
position. 

Other  women  exercise  violently,  either 
at  home  or  on  the  beach  or  on  the  ten- 
nis court.  But  they  continue  to  eat  as 
usual.  The  result  is  that  they  are  in- 
clined to  gain  more  than  they  lose.  Or 
else  they  suffer  from  a  bad  case  of 
fatigue. 

The  indolent  women,  with  money  to 
spend,  engage  a  masseuse.  New  mas- 
sage is  excellent  in  reducing  but  it  will 
not  effect  a  general  reduction.  It  is 
only  good  for  local  areas  of  fat.  For 
instance,  many  actresses  and  dancers 
have  masseuses  to  keep  the  fat  from 
accumulating  on  their  legs.  It  is  good, 
too,  for  removing  those  ugly  rolls  of 
fat  from  the  stomach  or  from  the 
shoulders.  It  will  break  down  the  fat 
tissues  but,  unaccompanied  by  diet  and 
exercise,  it  will  not  prevent  the  fat 
from  returning  nor  will  it  remove  a 
great  deal  of  poundage  from  the  grand 
total  of  weight. 

So  you  see,  if  you  are  really  greatly 
overweight  and  if  you  feel  that  your 
fat  is  endangering  both  your  health 
and  your  appearance,  it  is  best  to  real- 
ize that  half  measures  in  reducing  are 
usually  worse  than  none  at  all.  Make 
yourself  a  reducing  schedule  that  will 
include  diet,  exercise  and  massage,  if 
possible,  and  stick  to  it. 

Lois  K.,  Duluth,  Minn.  Dark  reds, 
olive  greens  and  rich  browns  are  your 
best  colors.  Blues  are  not  so  good  with 
your  black  hair,  black  eyes  and  dark 
skin. 

Mrs.  Elise  T.,  New  Orleans,  La. 
Many  authorities  feel  that  it  is  best  not 
to  drink  tea,  coffee  or  any  stimulants 
while  you  are  reducing.  Others  allow 
a  cup  of  coffee  at  breakfast  time.  Or  a 
demi-tasse  after  dinner,  with  hot  water 
for  breakfast. 

Y.  T.  L.,  Newark,  N.  J.  When  wash- 
ing your  hair,  use  either  a  specially 
prepared  shampoo  or  liquid  soap.  Or 
you  may  melt  soap  in  hot  water  and 
use  this  on  your  hair.  Do  not  rub  the 
soap  directly  on  the  hair  or  scalp,  as  it 
is  very  difficult  to  rinse  it  off. 

Helene,  New  Haven,  Conn.  I  know 
that  it  is  difficult  to  make  a  little  girl 
stand  up  straight.  Children  resent  con- 
stant nagging.  Why  don't  you  appeal 
to  your  daughter's  pride?  Surely  there 
is  some  movie  actress  she  admires  who 
should  be  set  before  her  as  a  model. 
Try  to  interest  her  in  athletics.  Old- 
fashioned  mothers  used  to  make  their 
daughters  walk  with  a  book  balanced 
on  top  of  the  head.  This  was  a  strict 
method  but  it  was  often  effective. 


Write  to  Ann  Boyd  about 

your     beauty     problems 

and     read     her     advice 

every  month. 


4  $iooo 


offers 

§~\r\r\r\oo 


FOR  BEST  RESULTS 

You  will  be  delighted  to 
see  how  easily  and  beau- 
tifully you  can  shampoo  and 
finger-wave  your  own  hair 
with  these  famous  prepara- 
tions. 

Jo-cur  Shampoo  Concen- 
trate—  lathers  luxuriously, 
brings  out  the  hidden  gold 
in  your  hair,  and  leaves  it 
soft,  silky  and  easy  to 
finger-wave.  It  should  be 
your  first  thought  in  hair 
dressing. 

Jo-cur  Waveset  —  sets 
natural  -  looking  waves 
quickly  and  is  beneficial  to 
hair  and  scalp.  Its  use  is 
simplicity  itself.  Millions  of 
women  recognize  Jo-cur 
Waveset  as  the  one  ideal 
finger-waving  liquid. 

OTHER  JO-CUR 
BEAUTY  AIDS 

Jo-cur  Hot  Oil  Treatment 
corrects  scalp  disorders. 
Jo-cur  Brilliantine  —  adds 
the  finishing  touch  to  the 
coiffure. 

Simple  directions  for 
shampooing  and  finger- 
waving  the  hair  come  with 
each  of  the  Jo-cur  Beauty 
Aids.  If  you  wish  to  use 
Jo-cur  Shampoo  Concen- 
trate and  Jo-cur  Waveset 
in  this  contest, youwill  find 
trial  sizes  at  most  5-and-10 
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at  your  drug  store. 


For  Beautiful 
Hair! 


FIRST  PRIZE 

$250.00  and  a  portrait  of  the  winner  by  Charles 

B.   Ross,  famous    painter    of   beautiful    women 

SECOND  PRIZE  $100.00 

2  Prizes  $50.00  each  10  Prizes  $10.00  each 

4  Prizes     25.00  each  70  Prizes       5.00  each 

ARE  you  proud  of  your  lovely  hair — its  beautiful  finger- 
/\  wave  —  its  becoming  arrangement?  Of  course  you 
are!  And  the  beauty  of  your  hair  may  mean  real  money 
to  you  in  the  Jo-cur  Hair  Beauty  Contest.  Think  of  it!  You 
may  win  the  money  for  a  whole  new  outfit — a  trip — or 
some  other  luxury  you  have  always  wanted.  One  thousand 
dollars  in  prizes  will  be  given  in  this  search  for  beautiful 
hair.  Will  you  be  one  of  the  fortunate  winners?  Why  not? 
Your  chance  is  as  good  as  anyone's.  Read  the  simple  rules 
that  follow — then  enter  the  contest. 

CONDITIONS  OF  THE  CONTEST 

All  you  need  do  to  enter  is  shampoo  and  finger-wave 
your  hair  attractively.  Then  send  a  photograph  showing 
your  hair,  to  Miss  Jo-cur,  Curran  Laboratories,  Inc.,  New 
York  City.  With  the  photograph,  send  a  brief  note  telling 
whether  you  used  Jo-cur  Shampoo  and  Jo-cur  Waveset, 
the  original  finger-waving  liquid,  in  dressing  your  hair. 
That's  all  there  is  to  it.  Judges  will  consider  only  the 
beauty  of  your  hair  as  shown  in  the  photograph.  In  award- 
ing prizes,  equal  consideration  will  be  given  all  contestants 
regardless  of  the  preparations  used  in  dressing  the  hair. 
But,  don't  think  you  must  submit  an  expensive  photograph. 
A  good,  clear  snapshot  is  all  that  is  necessary.  Photographs 
cannot  be  returned  and  the  right  is  reserved  to  publish  any 
photograph  submitted.  The  contest  closes  September  30th. 

HERE  ARE  THE  JUDGES 

These  experts  in  feminine  hair  beauty  will  pick  the  lucky  winners  in  this 
contest.  Their  names  guarantee  that  the  judgment  will  be  fair  and  impartial. 


Alice   White,    First 

National  Star,  whose 
beautiful,  wavy  hair 
is  the  envy  of  millions. 


i%3?<!,.    V 


Hazel  Kozlay,  Editor 
of  American  Hair- 
dresser Magazine,an 
authority  on  beautiful 
hair. 


Charles  B.  Ross, 

famous   painter 
of  lovely  women. 


If  your  nearest  5-and-10  or  drug  store  is  out  of  Jo-cur  Beauty  Aids,  we 
will  mail  you  trial  sizes  of  all  four  products  upon  receiptof  50c  in  stamps. 
Remember  the  contest  closes  at  midnight  September  30,  1930.  Be 
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for  beautiful  hair. 

CURRAN  LABORATORIES,  Inc. 

485  East  133rd  Street,  New  York,  N.Y. 

113 


The  Unknown  Charlie  Chaplin 


called  at  the  studio.  Chaplin  was  in 
his  private  room.  He  would  not  ap- 
pear. 

It  was  my  duty  to  go  to  the  young 
woman  and  "shoo  her  away."  I  lied  as 
little  as  possible,  as  it  was  not  my  na- 
ture to  be  a  Munchausen — at  fifty  dol- 
lars a  week.    Besides,  I  pitied  the  girl. 

She  left  the  studio  with  a  wistful 
smile  and  made  way  for  the  comedian's 
romance  with  the  Mexican  girl. 

Men  who  consider  themselves  quite 
close     to     the     comedian     are     often 


(Continued  from  page  51) 

mistaken.  Often  they  have  met  him 
when  he  was  in  the  mood  for  sociabil- 
ity. One  such  gentleman,  who  called 
himself  Chaplin's  "father  confessor," 
called  at  the  studio. 

CHAPLIN  looked  from  a  window  and 
beheld  his  "father  confessor."  He 
made  a  frantic  effort  to  hide  and  at  last 
succeeded  in  getting  into  a  clothes 
closet. 

I    shut   the    door    of   the   closet    and 
went  out  to  get  rid  of  the  caller.    With 


All  is  peace  between  Jim  Tully  and  Jack  Gilbert.  They  are  friends  again.  Indeed 
Jim,  who  helped  construct  Gilbert's  next  movie  story,  appears  with  the  famous 
star  as  a  member  of  the  cast.     Above  you  see  them  in  a  pugilistic  moment  of 

the  film,  "Way  For  a  Sailor." 


the  usual  prevarication,  I  told  him  that 
Chaplin  would  not  be  at  the  studio 
that  day. 

In  departing,  the  gentleman  said, 
"Well,  just  tell  Charlie  that  I  dropped 
in  to  say  'Hello.'  " 

Chaplin  emerged  from  the  closet, 
breathing  heavily,  for  the  air  had  been 
close.  Hearing  the  visitor's  message, 
he  wiped  the  perspiration  from  his 
forehead  and  exclaimed,  "Why  the 
devil  didn't  he  send  it  on  a  postal 
card?" 

No  man  answered. 

SAVE  in  cases  where  he  has  been  in- 
fatuated with  women,  it  is  doubtful 
if  Chaplin  has  ever  been  deeply  emo- 
tional over  a  human  being  in  recent 
years.  It  is  true  that  employees  have 
remained  with  him  for  years,  but  this 
has  been  more  a  matter  of  habit  on  their 
part  and  on  his  own  than  any  deep  de- 
votion. The  younger  and  more  ambi- 
tious employees  left  him  as  soon  as  the 
opportunity  for  advancing  themselves 
occurred.  Despite  the  lowly  social  stand- 
ing of  his  early  years  in  England,  he 
nevertheless  has  acquired  an  upper- 
class  attitude  toward  those  who  cannot 
grimace  upon  the  screen  to  the  tune  of 
a  million  a  year. 

He  never  makes  comments  on  those 
who  have  wrongfully  used  him.  Neither 
does  he  speak  of  a  kindness  which  he 
has  done  to  another  human  being. 

He  is  fond  of  animals  and  would 
stop  his  limousine  to  say  a  kind  word 
to  a  stray  dog. 

The  canine  which  played  with  him  in 
"A  Dog's  Life"  remained  a  pet  at  the 
studio  until  the  end  of  his  decrepit 
days.  He  lived  with  the  watchman  at 
the  front  gates,  and  was  made  much 
of  by  all  the  men  and  women  connected 
with  Chaplin.  Whenever  the  comedian 
appeared,  however,  old  Bill  would  leave 
all  and  follow  him.  The  dog's  atticude 
never  failed  to  please  Chaplin. 

His  charity  takes  strange  turns.  He 
is  not  by  nature  a  generous  man,  large- 
ly. I  think,  because  of  the  hurts  and 
fears  suffered  during  a  sensitive  boy- 
hood. Nevertheless,  he  is  capable  of 
many  kindly  impulses. 

A  master  of  legerdemain  who  had 
often  entertained  Chaplin  when  he  was 
a  street  urchin  fell  upon  hungry  days. 
He  wrote  the  world-famous  jester  a  let- 
ter asking  for  aid.  Chaplin  immediately 
put  him  on  his  pension  list. 

"He  was  an  artist,"  he  gave  as  his 
reason. 

CHAPLIN  did  not  talk  of  his  father. 
Of  his  mother  he  always  spoke 
kindly  and  often  affectionately.  It 
was  he  who  eased  the  remaining  years 
of  her  life.  He  was  proud  of  her 
ability  as  an  actress. 

"They  can  say  what  they  want  about 
my  mother,"  he  used  to  say  "she  was 
greater  than  I  will  ever  be.  She  WAS 
a  great  actress."  I  remember  his  pro- 
nouncing the  word  "was"  with  defiance, 
as  though  expecting  me  to  dispute  it, 

"I've  never  seen  anyone  like  her.  She 
was  good  to  me  when  I  was  a  kid.  She 
gave  me  all  she  had,  and  asked  noth- 
ing back,  and  by  God,  I've  got  no 
mother  complex,  either.  She  was  just  a 
good  fellow." 

(Continued  on  page  118) 


114 


The   New  Movie   Magazine 


The  Drama  of  Lila  Lee 

(Continued  from  page  88) 

Irish  heart.  He  came  over  and  patted 
her  shoulder  encouragingly.  "Don't  you 
worry  Tweenie,"  he  said.  "You  can 
never  tell  in  pictures.  You  just  go  in 
there  and  make  something  out  of  that 
party." 

The  words  gave  her  back  a  little 
courage. 

"And  C.  B.  was  so  kind  to  me,"  she 
said  later.  "He  knew  how  nervous 
and  frightened  I  was  and  how  little  I 
knew  about  pictures.  I  had  one  little 
sequence  alone,  in  my  bedroom.  He  did 
that  first  to  get  me  warmed  up.  And 
somehow,  right  from  the  first,  we 
seemed  to  click.  I  knew  what  he 
wanted.  It  has  never  been  like  that 
with  any  other  director." 

Pretty  soon  Tweenie  began  to  have 
more  and  more  scenes.  In  the  middle 
of  a  shot,  C.  B.  would  say  to  Jeanie 
McPherson:  "Does  Tweenie  come  in 
here?  Why  don't  we  have  Tweenie 
come  in  here  and  do  this  or  that?" 

So  that  between  them  Lila  and 
Tweenie  did  very  well.  Everyone  was 
pleased.  It  looked  as  though  Lila 
might  even  get  a  real  chance  sooner 
than  she  had  expected. 

And  then  something  terrible  hap- 
pened. 

LILA  began  suddenly  to  grow. 
-/  "I  was  exactly  like  Alice  in  Won- 
derland when  she  ate  the  wrong  side 
of  the  mushroom,"  she  told  me.  "I 
grew  and  I  grew.  From  being  a  little 
thing,  which  suited  my  age,  I  shot  up 
until  sometimes  I  felt  just  like  Alice." 

Actually,  Lila  isn't  so  very  tall.  But 
she  did  grow  amazingly  in  a  short  time. 
She  grew  as  all  girls  in  their  teens  do. 

So  there  she  was  again.  A  tall,  lanky 
youngster,  all  eyes,  too  young  for  her 
height,  too  immature  to  play  women, 
too  gangling  to  play  little  girls.  No 
one  wanted  her  for  anything. 

Probably  she  would  have  had  to  wait, 
like  Jackie  Coogan,  to  really  grow  up 
if  it  hadn't  been  for  Wally  Reid. 

Wally  met  her  on  the  lot  one  day. 
"What  are  you  doing,  young  one?"  he 
said. 

"Nothing,"  said  Lila,  pathetically. 
"No  one  will  have  me  for  a  leading 
lady  because  I'm  too  young  and  too  tall. 
There  aren't  any  other  parts." 

Wally  roared  with  laughter.  "I'll 
have  you,"  he  said.     "I'll  fix  that  up." 

He  did.  Wally  never  took  his  pic- 
tures too  seriously.  Besides,  at  that 
time  his  popularity  was  so  enormous 
that  he  could  do  no  wrong.  So  began 
a  long  series  of  pictures  in  which  Lila 
Lee  was  the  great  Wallace  Reid's  lead- 
ing lady.  Somehow  she  fitted  into  the 
type  of  stories  he  was  making  and  she 
was  very  popular.  That  era  ended 
with  the  delicious  comedy,  "The  Charm 
School." 

And  so  began,  too,  a  beautiful  friend- 
ship which  lasted  until  the  day  of 
Wally's  death.  He  always  called  her 
his  little  sister  and  treated  her  just 
that  way.  He  advised  her  about  her 
love  affairs  and  her  work  and  her  busi- 
ness. He  romped  with  her  at  the  studio 
and  played  jokes  on  her,  and  insisted 
that  she  come  to  his  house,  where  Dor- 
othy Davenport  Reid  was  a  gracious 
hostess,  like  one  of  the  family. 

"Wally  was  the  sweetest  person  who 
ever   lived"   Lila   said,   in   speaking  of 
him.      "There    will    never    be    another 
(Continued  on  page  116) 


Removes 
..Hair 

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115 


The  New  Movie  Magazine 


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116 


The  Drama  of  Lila  Lee 


(Continued  from  page  115) 


Wally  Reid.  He  didn't  have  one  mean 
or  unkind  thing  about  him.  He  was 
the  gayest,  happiest  person  to  be 
around  that  I've  ever  known." 

After  she  had  played  with  Wally, 
Lila  was  grown-up  enough  to  begin  her 
years  as  Tommy  Meighan's  favorite 
leading  woman.  Both  those  great  male 
stars  are  perhaps  best  remembered  in 
pictures  they  did  with  Lila. 

Her  screen  career  progressed  quietly 
and  steadily  while  she  worked  as  hard 
as  a  girl  can  work,  day  after  day.  Her 
private  life  was  developing  at  a  much 
swifter  pace.  In  one  move  it  was  en- 
tirely changed  and  for  a  time  she  faced 
in  her  home  unpleasant  situations. 

She  was  lonely.  Even  Minnie's  con- 
stant companionship  couldn'tmake  up  to 
a  fifteen  or  sixteen-year-old  girl  for  the 
intimacy  and  affection  of  home  life.  In 
Lila  was  bred  a  love  of  home  to  which 
she  has  often  sacrificed  a  great  deal, 
and  which  is  much  at  variance  with 
other  traits  in  her  nature.  More  and 
more  she  missed  the  love  and  compan- 
ionship and  mothering  which  Lillian 
Edwards  had  always  given  her. 

Now  that  she  was  making  a  big  sal- 
ary and  was  settled,  she  wanted  a  home 
of  her  own  and  she  wanted  her  family. 
So  she  wrote  and  asked  her  mother  to 
come  and  live  with  her. 

MR.  AND  MRS.  APPELL,  her  own 
mother  and  father,  from  whom 
she  had  been  separated  most  of  the 
time  since  Mr.  and  Mrs.  Edwards  took 
her  away  when  she  was  only  five,  now 
lived  in  Chicago.  The  mother  had 
watched  with  a  wistful  eye  the  upward 
career  of  little  Augusta,  glad  in  her 
heart  that  she  had  made  the  sacrifice 
which  made  that  career  possible,  yet 
sadly  lonely  at  times  for  her  youngest 
child. 

When  Lila's  letter  came  she  was  in  a 


transport  of  joy.  "She  wants  me,"  she 
told  her  husband.  "She  wants  me.  At 
last  she  has  need  of  her  mother." 

So  Peg,  Lila's  older  sister,  and  the 
mother  came  to  Hollywood.  They  joined 
Lila  and  Minnie  and  together  took  a 
charming,  old-fashioned  house  on  West- 
ern Avenue.  But  the  house  didn't  prove 
big  enough  for  Minnie  and  Mrs.  Ap- 
pell.  Minnie  had  been  supreme  too 
long.  She  couldn't  realize  that  this 
plump,  beaming  woman  was  Lila's  own 
mother.  And  Mrs.  Appell  couldn't  un- 
derstand why  a  strange  woman  should 
have  everything  to  say  about  Lila's  life 
— what  she  wore,  what  she  ate,  where 
and  with  whom  she  went. 

In  the  end,  Minnie  went. 

"I  needed  Minnie,"  said  Lila.  "But 
you  know  how  those  things  are." 

Another  thing  happened  then  which 
caused  Lila  a  great  deal  of  real  suffer- 
ing. That  was  her  final  breakaway 
from  the  long  association  with  Gus 
Edwards. 

She  was  still  under  eighteen.  The 
contract  made  with  Lasky  in  New  York 
was  made  by  Gus  Edwards  as  Lila's 
guardian,  though  he  had  no  legal  claim 
to  that  title.  Now  that  her  mother  was 
with  her  again,  now  that  she  was 
struggling  hard  and  working  hard  on 
her  own  without  any  aid  from  Ed- 
wards, Lila  felt  that  he  should  have  no 
say  over  her  money  or  her  activities. 

True,  the  Edwards  had  given  her  an 
education  and  a  home.  In  return  she 
had  worked  hard  for  them  and  made 
their  act  more  successful  than  it  could 
have  been  without  her.  Her  love  for 
Mrs.  Edwards  had  never  changed,  but 
Mrs.  Edwards  was  not  able  to  be  with 
her.  And  Lila  had  never  felt  for  Mr. 
Edwards  the  trust  and  affection  she 
gave  his  wife.     She  wanted  to  be  free. 

So  her  lawyer  filed  a  suit  to  have 
Lila's     guardianship     and     her     earn- 


Jeanette    MacDonald    certainly  should    kiss  Ernest   Lub.tsch    the   director. 

Didn't  he  make  her  a  hit  in  "The  Love  Parade '?     Right  now  he  .sd.reet.ng 

her  in  "Monte  Carlo"  and— whisper— the  picture  starts  w.th  another  lovely 

boudoir  disclosure  of  the  pretty  Jeanette. 


The   New  Movie   Magazine 


ings  turned  over  to  her  own  people. 
There  was  much  newspaper  publicity 
and  there  were  many  things  Lila's  loy- 
alty would  not  permit  her  to  say.  The 
story  that  the  Edwards  had  picked  her 
up  out  of  the  gutter,  saved  her  from 
starvation,  educated  her  above  her  own 
class,  was  broadcast.  Lila's  mother 
wept  and  Lila  listened  silently. 

In  the  end  the  case  was  settled  out  of 
court  and  Lila's  mother  was  made  her 
guardian.  She  remained  in  that  posi- 
tion until  Lila,  on  her  eighteenth  birth- 
day, was  old  enough  to  marry  without 
her  mother's  consent.  On  that  very 
day,  July  25th,  1923,  she  became  Mrs. 
James  Kirkwood.  One  of  the  strangest 
and  most  dramatic  marriages  Holly- 
wood has  known. 

But  before  that  Lila  had  two  years 
of  very  gay  and  very  happy  girlhood. 
No  girl  has  ever  been  more  popular 
than  Lila  Lee  became  once  she  had  put 
up  her  hair  and  lengthened  her  dresses. 
She  and  Bebe  Daniels  and  Constance 
Talmage  were  the  recognized  belles  of 
the  picture  colony. 

HER  first  beau  was  Kenneth  Hawks 
— who  years  later  married  the 
beautiful  Mary  Astor  and  met  so  tragic 
a  death  in  an  aeroplane  catastrophe. 
Ken  was  one  of  the  finest  and  cleanest 
boys  in  Hollywood.  That  was  never  a 
serious  romance.  Just  a  boy-and-girl 
crush,  half  friendship. 

Then  she  fell  madly  in  love  with  Jack 
Gilbert.  Jack  had  been  engaged  to 
Leatrice  Joy  and  had  broken  it  off.  So 
he  fell  madly  in  love  with  Lila. 


Nancy  Carroll  hasn't  renounced  her 
Irish  ancestors  in  favor  of  the  Scotch. 
Don't  worry.  She  is  merely  appearing 
in  a  costume  ball  sequence  of  her  new 
film/'FollowThru,"  in  which  she  co-stars 
with  Buddy  Rogers. 


At  one  time  they  were  actually  en- 
gaged. 

"What  happened?"  I  asked  her. 

She  sat  lost  in  thought.  "Isn't  it 
dreadful?"  she  said.  "I  can't  remem- 
ber. I  dare  say  we  quarreled.  We  were 
very  hectic  and  temperamental.  He 
was  so  grand." 

THEN  Charlie  Chaplin  became  her 
devoted  suitor.  Three  or  four 
times  a  week  you  would  see  Charlie  and 
Lila  out  together. 

"Charlie  helped  me  grow  up,"  she 
said.  "He  was  wonderful.  He  under- 
stood life.  He  tried  to  give  me  a  real 
philosophy.  His  mind  was  so  far  be- 
yond mine,  yet  we  had  such  happy, 
amusing  times  together." 

It  was  great  fun  —  being  a  belle, 
being  courted  by  such  great  folk,  going 
out  to  dance,  playing  and  flirting,  hav- 
ing pretty  frocks  and  flowers. 

But  none  of  it  was  deep.  It  wasn't 
until  Jim  Kirkwood  fell  in  love  with 
her  that  the  deep  drama  of  her  life 
stirred. 

She  had  known  Jim  Kirkwood  ever 
since  she  had  been  in  Hollywood.  He 
was  a  great  favorite,  a  handsome,  bril- 
liant, erratic  Irishman,  with  a  wild 
sense  of  humor  and  an  emotional  na- 
ture. They  had  always  been  friends, 
knew  all  the  same  people,  liked  each 
other.  Occasionally  Jim  would  drop  in 
at  the  house  on  Western  Avenue  for  a 
little  visit. 

But  he  was  twenty  years  older  than 
she  was  and  it  had  never  occurred  to 
either  of  them  to  fall  in  love. 

Then  fate  cast  them  in  the  same  pic- 
ture. The  name  of  it  was  "Ebbtide," 
and  the  location  was  Catalina  Island. 
There,  during  the  weeks  of  location, 
Jim  Kirkwood  found  that  the  little  girl 
had  grown  up,  had  become  a  woman, 
and  that  he  loved  her  as  completely 
and  as  insanely  as  it  was  possible  fox- 
any  man  to  love  any  woman. 

AT  first  Lila  was  startled.  Then 
-  gradually  she  fell  under  the 
charm,  that  Jim  could  always  exert. 
By  the  time  they  came  home  they  had 
promised  each  other  that  eventually 
they  would  marry.  Jim  was  mad  with 
happiness.     Lila  was  in  a  dream. 

But  they  met  appalling  opposition, 
not  only  from  Lila's  mother,  but  from 
all  their  mutual  friends.  The  differ- 
ence in  age  was  one  thing.  Then  Lila 
was  a  very  young,  inexperienced  girl. 
James  Kirkwood  was  a  man  of  the 
world,  a  little  weary  perhaps  of  the 
very  pleasures  and  excitements  which 
Lila  hadn't  yet  tasted.  The  match 
seemed  somehow  just  not  to  be  right. 

The  engagement  was  broken,  they 
quarreled,  Lila  went  to  New  York  to 
make  pictures  with  Tommy — but  neither 
quarrels,  nor  separations,  nor  opposi- 
tion could  change  them.  Lila  came 
back  to  Hollywood,  and  on  her  eight- 
eenth birthday  married  Jim  Kirk- 
wood. 

Three  weeks  later  —  they  had  lived 
together  one  week  and  then  he  had 
gone  on  location  —  in  a  fall  from  his 
horse  before  her  very  eyes,  Jim  was 
terribly  injured.  He  suffered  a  frac- 
tured skull  and  for  months  hovered  be- 
tween life  and  death.  Tragedy  hung 
over  their  marriage,  and  Lila  entered 
upon  a  new  and  entirely  unforeseen 
chapter  of  life. 

(Next  month  New  Movie  will  pre- 
sent the  third  act  of  Lila  Lee's  life 
story,  with  its  heartaches  and  its  joys. 
Here  is  a  fascinating  story  of  tragedy 
and  success.) 


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SOLD  AT  MANY  F.W.  WOOLWORTH  CO 
5  AND  10  CENT  STORES 


TheUnknown  Charlie  Chaplin 


(Continued  from  page  114) 


His  mother  suffered  from  recurrent 
attacks  of  mental  illness,  probably 
caused  by  the  vicissitudes  of  worry  and 
poverty. 

"They  used  to  let  her  go  when  they 
thought  her  mind  was  well,"  Chaplin 
told  me.  "In  half  a  day  she'd  find  a 
place  to  live,  get  someone  to  trust  her 
for  the  rent  of  a  sewing  machine,  some- 
one else  to  trust  her  for  material  to 
make  sacks,  and  by  night  she'd  have 
a  dozen  sacks  ready  to  sell."  He  would 
pause  in  reminiscence.  "And  the  first 
thing  she'd  do  was  get  Syd  and  me. 
I'll  never  forget  that. 

"One  time  we  came  home  and  found 
her  gone.  We  thought  the  worst,  but 
hoped  we  were  wrong.  It's  not  so  easy 
for  a  kid  to  come  home  and  find  his 
mother  taken  away.  So  we  knocked  at 
the  doors  of  all  the  rooms  to  find  some- 
one who  could  tell  us  something.  At 
last  a  big  woman  opened  a  door  and 
we  jabbered  to  her  and  asked  a  lot  of 
questions.  She  couldn't  tell  us  a  thing. 
She  was  deaf  and  dumb.  We  found 
where  they  took  her  all  right.  Some- 
thing had  snapped  again.  We'd  go  to 
visit  her  and  take  a  couple  of  sacks  of 
peanuts  with  us  and  take  her  and  sit 


out  under  a  tree  with  her  until  the 
man  would  come  to  get  her.  Many  a 
time  I  couldn't  talk  for  an  hour  after- 
ward." 

WITH  very  keen  perceptions,  but  by 
inclination  an  actor,  he  has  not 
always  a  proper  sense  of  values. 

"A  great  artist  must  have  a  great 
audience,"  he  once  said  to  me. 

"How  about  Whitman  and  Nietzsche?" 
I  asked  him  in  return.  He  made  an 
evasive  answer.  He  had  spent  but  very 
little  time  with  such  men.  He  knows 
considerable  of  David  Garrick,  but 
nothing  of  Samuel  Johnson,  a  man  of 
larger  metal. 

He  is  probably  the  finest  example  of 
the  parlor  socialist  in  Hollywood.  His 
sympathies,  bound  up  with  pity  of  his 
own  early  suffering,  are  seldom  any- 
thing but  abstract. 

A  facile  conversationalist,  his  appre- 
hension is  greater  than  his  application. 
With  the  exception  of  his  life  work, 
which  is  more  than  half  intuition,  his 
knowledge  of  all  other  subjects  is  quite 
superficial. 

His  reputation  brings  with  it  a  cer- 
(Continued  on  page  121) 


Charlie  Chaplin  has  been  at  work  on  his  new  comedy  for  a   long  time  but  few 

scenes  from  the   picture    have   been   allowed   to   reach   the   public.     Charlie  is 

afraid  someone  will  steal  his  comedy  ideas.     This  shot  shows  Chaplin  in  his  new 

film  and  it  was  released  especially  for  NEW  MOVIE. 


118 


The   New   Movie   Magazine 


Back  to  Her  First  Hate 


(Continued  from  page  27) 


a  new  interest  in  the  thing  she  used 
to  hate. 

So  now  she  is  back  in  Hollywood 
and  very  glad  of  it. 

She  hasn't  any  big  starring  contract. 
In  fact  she  hasn't  any  contract  at  all. 
But  she  has  very  definite  ideas  of 
what  she  wants  to  do — and  she  is  go- 
ing to  do  it. 

"I  have  my  feet  on  the  ground,"  she 
said,  with  a  quick  smile.  "With  the 
years  of  experience  I  have  in  back  of 
me  I  know  just  what  I  can  do  and 
what  I  can't  do.  It  would  be  silly  for 
me  to  shoot  at  things  which  are  be- 
yond me,  not  in  my  field,  and  just  as 
silly  for  me  to  ignore  what  I  know  I 
can  do  because  I  have  done  it  already. 

"I  do  not  kid  myself  and  I  do  not 
want  to  kid  anyone  else — or  have  them 
kid  me. 

"I  am  not  going  to  play  anything 
I  do  not  want  to  play.  I  do  not  want 
a  contract,  where  I  will  have  to  play 
any  part  assigned  me  by  the  studios, 
whether  it  is  suitable  or  not.  There 
are  many  fine  pai-ts  in  pictures  which 
I  believe  I  can  do,  perhaps  better  than 
others,  because  of  my  long  training  on 
the  stage  and  my  experience  in  pictures. 
When  I  know  of  such  a  part,  I  can  go 
after  it,  no  matter  what  lot  the  pic- 
ture is  being  made  upon.  I  am  willing 
to  do  any  part  that  gives  me  a  real 
chance." 

I  TOLD  her  what  Adolphe  Menjou 
had  determined  when  he  came  back 
from  Europe.  He  did  not  want  the 
burden  of  being  a  star.  He  didn't 
want  to  be  playing  some  mediocre  part, 
just  to  be  starred,  when  on  some 
other  lot  was  a  part,  perhaps  smaller, 
but  with  greater  possibilities.  He  will 
not  only  get  fun.  out  of  doing  the  things 
he  likes,  but  he  will  have  a  chance  to 
stand  out  in  every  role,  rather  than 
struggle  to  make  a  star  part  of  bad 
material. 

"Yes,  that  is  the  way  I  feel,"  said 
Miss  Ferguson.  "I  think — I  believe — I 
can  work  up  again  the  same  thing 
which  made  me  a  star  before  and  kept 
me  a  star  on  the  New  York  stage.  I 
see  no  reason  why  not.  But  I  will  not 
— cannot — do  it  by  playing  any  old 
part,  whether  it's  my  style  or  not. 

"I  have  no  false  pride.  It  doesn't 
bother  me  that  I  was  a  star,  and  am  not 
one  now.  I'm  still  Elsie  Ferguson.  I 
didn't  start  my  career  as  a  star,  did  I? 
I  started  in  the  chorus  and  worked  up 
to  be  a  star.  I  had  extreme  youth 
then,  but  I  had  no  experience,  no  un- 
derstanding. What  I  have  lost  in  that 
youth,  I  have  gained  in  a  thousand 
other  ways. 

"My  only  fear  is  that  I  came  back 
too   soon." 

Her  eyes  were  a  little  wistful,  a  lit- 
tle questioning. 


"What  makes  you  think  that?" 
"There  are  still  so  many  imperfec- 
tions in  the  mechanical  things  connect- 
ed with  the  talkies.  They've  not  per- 
fected the  recording  of  the  voice.  The 
cutting  difficulties  have  changed  so 
much  from  the  old  days.  They  aren't 
able  to  handle  tempo. 

"Every  actor  and  actress  knows  that 
tempo  is  the  most  important  thing  in 
acting.  It  is  lost  in  the  talkies  now. 
There  is  no  building  up  to  a  climax; 
everything  is  the  same  speed  from  be- 
ginning to  end.  No  play,  constructed 
and  acted  like  that,  could  succeed.  It 
is  a  little  difficult  for  anything  coming 
from  the  stage.  But,  of  course,  all  those 
things  are  being  overcome. 

THE  one  thing  that  drives  me  mad 
is  the  way  they  yell  'Turning  over' 
just  as  you  start  a  scene.  It  pounds 
into  my  ears  and  all  I  can  think  of  is 
'Going  Over — ■'  over  the  top  and  that 
I'm  going  to  get  my  head  shot  off  the 
moment  I  stick  it  over  the  trench.  I 
just  don't  seem  to  be  able  to  overcome 
those  things.  Lord  knows  I  try.  Me- 
chanical things  especially  just  drive  me 
crazy.  That's  why  the  movies  have 
always  been  difficult  for  me.  You  see 
the  mechanics  so  plainly  when  you 
are  making  a  picture." 

Another  reason  brought  Miss  Fer- 
guson back  to  the  screen.  She  wants 
to  live  in  California  with  her  hus- 
band. She  is  married  to  Frederick 
Worlock,  a  tall,  dark,  handsome  En- 
glishman who  came  through  the  war 
with  honor.  He  used  to  be  an  actor, 
but  now  he  wants  to   write  plays. 

I  think  right  now  Elsie  Ferguson 
is  more  interested  in  his  career  than 
in  her  own.  She  talked  about  herself 
and  her  work  only  when  I  asked  ques- 
tions. But  she  talked  about  her  hus- 
band's playwriting,  and  what  fun  they 
had  discussing  things,  and  what  a  swell 
place  California  was  for  a  writer,  with- 
out any  prompting.  The  two  of  them 
seem  very  happy  and  very  much  in 
love.  A  nice,  companionable,  close  kind 
of  love. 

"I'm  glad  to  be  back,"  Elsie  said,  as 
they  stood  in  the  doorway  of  their 
bungalow  to  say  good-by.  "I  love  Cali- 
fornia. We  can  live  a  normal,  inter- 
esting life  here.  I'm  crazy  about  the 
talkies.  Once  I  get  the  technique,  I 
know  it  will  interest  me  as  much — per- 
haps more — than  the  stage.  I  hope  the 
people  who  were  so  kind  to  me  when  I 
was  on  the  screen  before  will  be  glad 
to  see  me  back.  Could  one — ?  if  it's  all 
right — I'd  like  to  send  them  my  love 
and  tell  them  I  was  always  grateful 
for  their  friendship.  They're  the  peo- 
ple I  work  for — that  every  actress 
works  for.  I  went  away  because — I 
just  had  to  talk.  Now  I  can  talk  in 
pictures — everything  is  wonderful." 


Turn  to  Page  83  and  read  the  new  style 

REVIEWS  OF  THE  NEW  PICTURES 

By  Frederick  James  Smith 

Concise  and  accurate  descriptions  of  the   new   motion   picture 

dramas,  designed  to  save  your  time  and  money.    Be  sure  to 

read   this  department  every  month. 


THESE 


COMPACTS 

FIT  YOUR  PURSE 

ft 

To  keep  looking  your  best  and  to  do  it 
with  little  money  is  really  quite  easy 
these  days.  Those  swanky  red  and  green 
compacts  you  see  on  chain  store  counters 
and  in  the  purses  of  increasing  thousands 
of  smart  women  are  the  reason. 

"Ash's"  and  "Deere"  lipsticks,  cake 
powder  compacts,  loose  powder  compacts, 
sifter  compacts,  rouge  compacts,  lip  salve 
compacts  and  even  eyebrow  pencils  are 
being  sold  all  over  the  world  simply 
because  they  are  the  most  remarkable 
value  you  can  buy  and  they  are  the 
smartest  looking  too.  The  price?  We 
hardly  can  wait  to  tell  you.  In  most 
cases  it's  only  ten  cents.  Imagine  pure 
guaranteed  cosmetics  for  ten  cents!  Hard- 
ly a  wonder  that  women  have  stopped 
paying  two,  three,  four  and  even  five 
dollars  for  their  compacts  and  lipsticks. 

There  are  other  more  expensive  items  sold 
under  these  same  trade  marks.  A  fancier 
compact  case,  a  more  elaborate  type  of 
swivel  lipstick,  a  bit  more  money  of 
course ;  but  no  more  purity  of  ingredient, 
because  there  is  none  purer  no  matter 
how  much  you  care  to  spend.  At  ten, 
twenty-five,  fifty  cents  or  one  dollar, 
every  genuine  "Ash's"  or  "Deere"  com- 
pact has  a  buff  colored  guarantee  slip 
inside  the  case  and  every  lipstick  is 
stamped  "Ash's"  in  script.  Look  for  it 
as  your  own  protection. 

For  Sale  at  all 
Chain  Stores. 

The    REICH-ASH    CORP. 
307  FIFTH  AVENUE,  NEW  YORK 


119 


The  New  Movie  Magazine 


the 

MODERN 
HAIR  WAVER 

IpCfLETfE 

MAKE S  2  WAVES 
AT  OSE    TIME 


For  long  or  bobbed  hair.  Simple 
and  easy  to  use.  Positive  and 
pleasing  results.  Cannot  break  or 
injure  the  hair. 

— and  

For  Those  Troublesome  Ends 

Sobette 

End  Waver 


For  waving  or  curling  the  ends  of 
bobbed,  growing  or  long  hair,  with- 
out heat. 


For  Sale  at 

F.  W.  WOOLWORTH  CO. 


5  and  10c  STORES 


Marcelette  Co. 


5  East  16  St. 


New  York 


The  Poor  Little  Rich  Gir 


(Continued  from  page  89) 


boastful  when  they  are  the  wives  of 
men  of  wealth — when  they  can  sport 
a  couple  of  chinchilla  coats  and  emer- 
ald rings.  Their  work  becomes  secon- 
dary because  most  of  them  are  silly 
and  frivolous  and  truly  feminine. 
But  not  Hope  Hampton. 

SHE  is  the  essence  of  femininity,  all 
right.  Just  take  a  peep  at  her  fragile 
beauty  that  is  made  up  of  delicate, 
creamy  skin;  titian  hair  that  is  the 
delight  of  painters  and  color  film  ex- 
perts alike;  and  her  graceful,  gentle 
movements.  The  quintessence  of  love- 
liness. 

Yet  Hope  possesses  qualities  that  are 
distinctly  masculine. 

Stamina  and  grit.  These  should  be 
put  in  capital  letters  for  all  aspiring 
young  women  to  see.  Determination. 
Backbone. 

These  are  a  few  of  the  splendid 
Hampton  traits.  These  traits  which 
carried  her  up  from  a  small  town 
Texas  beauty  to  grand  opera  stardom 
.  .  .  qualities  that  will  carry  her  to  still 
farther  heights,  if  she  so  desires.  I 
refer  to  the  talkies,  where  the  future 
of  all  the  arts  seems  to  lie. 

You  feel  these  things  about  Hope 
when  you  are  with  her  alone  for  a  few 
moments.  The  very  things  she  talks 
about,  the  shadow  of  determination 
that  glitters  in  her  soft  eyes,  like  a 
stranger  who,  although  not  really  a 
part  of  a  household,  is  quite  welcome. 

YOU  tell  yourself  that  she  is  a 
fragile,  beauteous  young  person 
to  charm  the  eye  of  the  most  exacting 
connoisseur.  But  all  the  time  you  are 
thinking  these  things  you  are  aware 
that  shining  through  all  that  gossa- 
mer beauty  is  a  spirit  of  courage, 
strength,  male  fortitude.  You  try  to 
shake  that  impression  by  staring  hard 
at  the  mop  of  red,  curly  hair  that 
looks  as  if  it  could  only  belong  to  a 
little  girl.     But  you  can't.     It  is  there. 

That's  the  real  Hope  Hampton.  The 
Hope  who  looks  you  square  in  the 
eye  and  declares: 

"I  wish  my  husband  was  not  quite  so 
wealthy." 

A  strange  wish  indeed  in  this  day 
of  the  mighty  dollar.  But  she  ex- 
plains it  by  declaring  that  the  poor 
girl  who  is  ambitious  has  a  better 
chance  to  succeed  on  the  stage  or  in 
the  movies  than  the  one  who  has 
money  behind  her. 

"People  just  won't  give  credit  to  the 
rich  girl  who  accomplishes  things,"  she 
says;  "they  truly  believe  that  it  was 
the  money  that  brought  the  success." 

Hope  was  a  success  in  the  movies 
before  the  advent  of  the  talkies.  She 
had  everything  that  any  girl  desires 
who  dreams  of  a  motion  picture 
career.  Fame,  beauty,  worldly  ac- 
claim. Yet  even  then  she  wasn't  sat- 
isfied. 

"T  FELT  there  was  something  greater 


thing  more  concrete  than  standing  be- 
fore the  camera  and  doing  the  things 
I  was  ordered  to  do. 

"Sometimes  when  I  saw  myself  on 
the  screen  I  got  a  feeling  that  I  had 
left  out  something.  Oh,  it  is  hard  to 
explain,  or,  at  least,  I  couldn't  under- 
stand it  then.  Now  I  know.  I  think 
I  wanted  to  talk,  use  my  voice,  pro- 
ject my  real  self. 

"I  didn't  know  then  that  the  talkies 
were  coming  in  and  would  make  all 
that  possible. 

"At  any  rate,  I  quit  the  movies  to 
study  acting  and  voice  culture.  I  had 
always  had  a  singing  voice,  but  it  was 
my  husband  who  discovered  its  possi- 
bilities. He  thought  enough  of  it,  any- 
way, to  encourage  me  in  my  study  of 
grand  opera. 

"Now  that  I've  had  a  taste  of  it, 
I  love  it.  Some  day  I  hope  to  reach  the 
goal    I've    set   out   for   myself." 

What  goal  is  she  trying  to  reach, 
this  charming  creature  who  has  al- 
ready been  a  star  of  the  screen  and 
has  sung  grand  opera  roles  both  here 
and  in  Paris?  Has  that  goal  any- 
thing to  do  with  the  talkies? 

Ask  her  that  and  she  smiles.  A 
mysterious,  Mona  Lisa  smile. 

"Well,  yes,"  she  says,  "in  a  way." 

YOU  wait  and  she  looks  at  you 
through  dreamy,  eager  eyes  and 
says: 

"My  real  love  is  grand  opera.  I'll 
never  give  up  that  dream. 

"But  the  talkies  are  a  wonderful 
thing.  I've  had  several  offers  that  I 
am  considering.  I'd  like  to  make  a 
talkie  or  two  and  see  what  it  would 
be  like  now.  But  my  opera  career 
comes  first." 

You  gaze  at  this  wisp  of  a  woman 
in  utter  amazement. 

Rich,  beautiful,  a  life  of  elegance 
before  her,  and  yet  she  prefers  to 
study  difficult  arias  eight  hours  a  day, 
deny  herself  many  personal  luxuries, 
as  those  who  sing  opera  must  do,  and 
keep  regular,  simple  hours. 

Is  it  any  wonder  she  has  been  a 
success? 

The  talkies  loom  on  her  horizon 
now.  Opportunities  are  hers  for  the 
taking.  She's  considering  them  all,  in 
between  preparing  for  her  season  of 
grand  opera.  This  Summer  she  sings 
in  Europe  with  the  Monte  Carlo  Opera 
Company.  In  October  she  will  sing  in 
four  different  operas  with  Gigli  of 
the  Metropolitan  Opera  Company  in 
California.    After  that,  who  knows? 

However,  California  is  a  part  of 
Hollywood,  they  say.  Perhaps  this 
proximity  to  the  scene  of  her  early 
success  may  have  some  deep  signifi- 
cance.    Let  us  hope  so. 

At  any  rate,  everyone  is  speculating 
if  the  talkies  will  lure  Hope  back  to 
the  screen  again. 

Maybe  we  shall  hear  Hope  in  grand 
opera  in  the  movies,  for  opera  has 
come    to    the    realm    of    the    silvered 


to   achieve,"   she   explains,   "some-      screen. 


Do  you  follow  Herb  Howe's  Hollywood  chat  every  month? 
Mr.  Howe's  comments  appear  in  no  other  publication. 


120 


The  New  Movie   Magazine 


TheUnknown  Charlie  Chaplin 


(Continued  from  page  118) 


Next  Month  Jim  Tully  will  resume   his  fascinating  adventures  in 
Interviewing.     Watch  for  this  feature. 


tain  awe.  He  is  listened  to  with  rapt 
attention  by  people  who  know  even  less 
about  the  subject  of  which  he  is  talk- 
ing than  he  does  himself. 

WHISTLER  accused  Oscar  "Wilde 
of  taking  the  crumbs  from  his 
table  and  scattering  them  in  the  prov- 
inces. Chaplin,  while  often  sharing 
social  honors  with  Madame  Elinor 
Glyn,  is  about  on  her  level  as  a  student. 
Gifted  with  a  powerful  mind,  he  makes 
no  use  of  it. 

Chaplin  is  a  peddler  of  intellectual 
crumbs. 

The  comedian  was  sued  some  time 
ago  by  a  writer  who  claimed  an  idea 
had  been  stolen.  The  majority  of  the 
jury  before  whom  the  case  was  tried 
was  for  conviction.  Although  I  do  not 
know  the  full  history  of  the  case,  I 
would  be  inclined  to  lean  toward  the 
innocence  of  Chaplin.  In  my  opinion, 
his  honesty  is  beyond  question.  Being 
quite  human,  he  has  his  petty  qualities. 
But  he  is  above  deceit  and  connivance 
as  practiced  so  frequently  in  the  mod- 
ern business  and  political  world.  He 
may  be  petty  in  order  to  save  himself, 
but  as  long  as  other  citizens  let  him 
alone,  Charlie  will  treat  them  likewise. 
He  is  much  too  self-centered  to  worry 
over  or  mix  much  with  the  affairs  of 
others.  He  may  thumb  his  nose  at 
pomposity  and  hypocrisy,  but  not  while 
it  is  watching. 

When  I  contracted  to  write  the  life 
of  Chaplin  for  Pictorial  Review,  the 
editors  asked  that  I  write  the  comedian 
and  explain  my  purpose.  Their  inten- 
tion, although  perfectly  just,  was  one 
of  utmost  unkindness  toward  the  little 


genius.  Accordingly,  I  wrote  to  Chap- 
lin and  told  him  that  I  would  do  all  in 
my  power  to  be  gentle,  or  words  to  that 
effect. 

He  did  not  answer  my  letter.  In- 
stead, through  his  New  York  attorney, 
he  filed  suit  against  the  magazine,  and 
against  me,  too,  I  think,  -for  a  half 
million  dollars.  He  was  a  magnificent 
optimist. 

Common  sense  on  the  part  of  attor- 
ney and  jester  would  have  told  them 
both  that  no  magazine  such  as  Pictorial 
Review,  read  mostly  by  women  and  chil- 
dren, would  have  allowed  anything  un- 
kind or  unjust  to  be  printed  against  the 
idol  of  millions  of  readers. 

Expensive  lawyers  were  retained 
on  both  sides.  My  'manuscript  was 
carefully  combed  until  it  was  as  lifeless 
as  a  romantic  serial.  The  case  went  to 
trial  before  Federal  Judge  Thacher.  He 
dismissed  it  almost  immediately. 

Hoover  has  since  promoted  Judge 
Thacher  to  a  higher  position  in  Wash- 
ington. Whether  the  judge's  action  in 
regard  to  my  case  was  read  at  the  time 
by  the  future  president,  I  do  not  know. 
But  the  life  story  ran  in  the  magazine. 

It  was,  without  doubt,  the  greatest 
piece  of  publicity  Chaplin  ever  received. 
So  far  he  has  not  thanked  me. 

I  have  often  wondered  just  why  he 
sued  the  magazine.  Did  he  imagine  I 
would  write  something  different? 

Charles  Chaplin  is,  as  men  in  general 
are  measured,  a  high  type  of  citizen. 
He  attends  as  many  dull  dinner  parties 
as  any  Rotarian.  But,  all  in  all,  he  is 
a  far  from  usual  fellow,  and,  as  they 
say  in  the  hinterland  of  Ohio,  "I  am 
glad  to  have  metten  him." 


Claudette  Colbert  has  departed  on  a  five  months'  tour  of  the  world  with  her 
husband,  Norman  Foster.  Miss  Colbert  completed  her  role  in  the  new  talkie 
version  of  "Manslaughter"  before  her  departure.  The  world  tour  is  being 
made  on  a  freighter — so  the  popular  star  will  be  far  from  the  maddening 
throng  for  her  lengthy  vacation. 


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"he   "hunder  "hief 


{Continued  from  page  33) 


expends  enough  energy  to  move  a  good- 
sized  mountain  in  attempting  to  make 
the  bid — and  nine  times  out  of  ten  pulls 
a  rabbit  out  of  a  hat. 

If  her  partner  is  a  good  player,  she 
calls  attention  to  his  mistakes  in  the 
manner  of  Queen  Elizabeth  sentencing 
Essex  to  the  block.  If  he  isn't  a  good 
player,  she  smiles  benignly  and  pets 
him  on  the  back  for  losing  only  two 
tricks  by  misplays. 

As  Bill  Haines  says  "Playing  bridge 
with  Marie  is  like  living  through  a  cy- 
clone. But  it's  stimulating.  I'd  rather 
play  with  her  than  with  Work,  myself." 

SPEAKING  of  work— Marie  Dress- 
ier is  the  actress  to  her  fingertips. 
She  has  that  poise,  that  graciousness, 
that  brilliant  play  of  voice  and  facial 
expression,  that  ability  to  make  her 
point  which  are  part  of  the  finished 
personality  of  every  great  stage  star, 
as  ease  of  muscle  and  bodily  control 
belong  to  the  great  athlete. 

Talk  to  Ina  Claire  for  an  hour  and 
conversation  with  any  woman,  no  mat- 
ter how  sweet  she  may  be  or  how 
worth  while  her  thoughts,  becomes  as 
insipid  as  a  cold  cup  of  coffee. 

The  let-down  from  Marie's  conver- 
sation to  that  of  most  people  is  the  let- 
down from  Helen  Wills  to  a  high  school 
champ. 

When  she  talks — and  she  loves  to 
talk,  loves  an  audience,  loves  people — 
when  she  talks  all  that  swift  change 
of  mood,  all  the  delicate  shadings  to 
awaken  laughs  and  heart  throbs,  the  lit- 
tle pauses  for  emphasis,  the  mobile 
play  of  every  feature,  hold  you  spell- 
bound as  she  holds  an  audience.  Yet 
she's    never   affected.      It's   all   become 


part  of  herself.     That  is  Marie  Dress- 
ier. 

If  you  saw  Marie  Dressier  in  "The 
Callahans  and  the  Murphys,"  which 
brought  her  back  to  the  sci'een  after  a 
long  absence,  it  may  be  difficult  to  re- 
alize that  Marie  Dressier  is  very  much 
the  grande  dame — oh,  very  much.  No 
one  takes  liberties,  no  one  ignores  the 
usual  formalities  of  polite  society  in 
her  presence. 

I  KNOW  one  young  man  who  had  the 
misfortune  one  evening  after  dinner 
in  her  house  to  follow  an  old  Chinese 
custom,  which  in  that  older  civilization 
is  considered  naught  but  a  compliment 
to  the  excellent  food  provided  by  one's 
host.  In  the  good  old  Anglo-Saxon 
which  is  becoming  more  and  more  pop- 
ular all  the  time,  he  belched. 

Marie  turned  upon  him.  a  frozen 
countenance  and  a  lifted  eyebrow. 

"Perhaps  you  had  better  take  a  lit- 
tle walk  in  the  garden"  she  said.  "I  am 
a  comedienne  only  on  the  screen." 

That  is  true.  Marie  is  witty,  she 
tells  a  funny  story  well,  her  laugh  is 
hearty,  but  unlike  her  friend  and  co- 
star,  Polly  Moran,  she  doesn't  do  spon- 
taneously funny  things,  she  never  pulls 
her  stuff  in  the  drawing-room.  Polly 
just  naturally  can't  help  being  funny. 
Marie  can — and  does. 

Perhaps  the  sweetest  thing  about  Ma- 
rie Dressier  is  her  honest  interest  in 
everybody  else.  What  you  are  doing, 
how  your  life  and  work  are  progressing, 
is  of  real  interest  to  her.  If  you  don't 
see  her  for  months,  she  remembers  how 
old  all  your  children  are,  and  their 
names  and  some  little  story  about  them. 

There  is  no  affectation  in  her  idolatry 


COMING 

in  Next  Month's  New  Movie 

HERB  HOWE'S  HISTORY 
OF  HOLLYWOOD 


Remember  Herb  Howe's  Guide  Book  to  Hollywood?  That 
was  perhaps  the  most  popular  feature  published  by  NEW 
MOVIE  up  to  date.  Next  month  Mr.  Howe  relates  the  fasci- 
nating and  colorful  history  of  the  world's  most  romantic  town 
from  the  days  of  the  Indians  and  the  coming  of  the  pioneers. 

Here  is  a  feature  you  will  want  to  save.  Watch  for  it! 
Mr.  Howe's  History  of  Hollywood  will  be  illustrated  with 
numerous  unpublished  photographs  showing  the  old  and  the 
new  Hollywood. 


The   New  Movie   Magazine 


where  children  are  concerned.  Frances 
Marion,  the  famous  writer,  is  her  clos- 
est friend,  and  Marie  will  desert  any 
party  on  Sunday  afternoon,  no  matter 
how  brilliant,  to  play  with  the  kids  in 
their  sandpile. 

Really,  she  should  have  had  a  dozen 
running  around.  But  the  one  great  love 
affair  of  her  life  was  overshadowed 
with  tragedy.  The  man  she  loved  was 
for  many  years  an  invalid  and  Marie 
cared  for  him  and  nursed  him  to  the 
day  of  his  death.  In  spite  of  the  un- 
fortunate circumstances,  Marie  would 
have  no  one  else.  So  her  life  has  been 
lonely  at  times,  and  lacked  those  things 
which  should  have  been  hers — a  home 
and  children.  Much  of  that  repression, 
and  of  the  grief  she  felt  at  his  passing, 
have  gone  to  make  the  undying  pathos 


What?  Formal  evening  pajamas! 
Honest.  They  appear  in  Joan 
Crawford's  "Our  Blushing  Brides"  and 
were  designed  by  Adrian.  Will  the 
modern  girl  adopt  them?  Who  knows? 
The  young  woman  inside  is  one  of  the 
pretty  models  in  the  picture. 


that   is   hers   in   such   parts    as    Marie 
Smith  in  "Caught  Short." 

MARIE  never  wanted  to  be  a  come- 
dienne. 

Like  all  great  comics,  she  is  terrifically 
sensitive.  Her  feelings  are  easily  hurt. 
Her  lower  lip  trembles  and  she  assumes 
an  enormous  dignity.  Probably  no  wom- 
an was  ever  more  woman  than  Marie 
Dressier. 

And  let  me  tell  you  something  that  I 
have  discovered  from  long  association 
with  the  great  women  comics,  such  as 
Fannie  Brice  and  Marie  Dressier  and 
Polly  Moran.  No  woman  likes  to  be 
funny.  It  robs  her  immediately  of 
something  that  is  a  woman's  birthright. 
They  live  above  it,  they  solace  the  deep 
feelings  which  must  be  beneath  all 
comedy  with  the  pride  of  giving  laugh- 
ter to  the  world,  but  they  carry  within 
themselves  a  certain  wistful  withdraw- 
al, a  spot  of  hurt  pride. 

Polly  Moran  can  kid  about  herself 
and  her  figure.  But  even  her  best 
friends  can't  kid  her  about  it — and  Pol- 
ly is  a  great  scout  and  has  a  sense  of 
humor  big  enough  to  cover  everything 
else  in  the  world. 

So  always  Marie  Dressier — for  thir- 
teen years  the  great  drawing  card  of 
Weber  and  Fields — has  wanted  to  play 
drama.  She  knows  what  everyone  con- 
nected with  the  theater  knows,  that 
comedy  is  the  hardest  thing  on  earth 
to  play,  the  supreme  test  of  the  actor. 
Anyone  who  can  play  high  comedy  can 
take  a  rest  in  a  heavy  dramatic  role. 
There  was  more  dramatic  power,  more 
actual  technique  and  hard  work  in  Ina 
Claire's  performance  in  "The  Gold  Dig- 
gers" than  in  Jeanne  Eagels's  Sadie 
Thompson. 

Thus  the  role  in  "Anna  Christie," 
which  had  a  deep  undercurrent  of 
drama  and  tragedy,  delighted  her. 

WE  were  sitting  in  a  corner  at  one 
of  Sadie  Murray's  parties  one 
night — Sadie  is  Beverly  Hills'  leading 
hostess  and  the  Alice  Roosevelt  ef  Hol- 
lywood— when  she  told  me  about  it. 

"It's  a  marvelous  thing  to  have  a 
dream  come  true  after  forty  years," 
she  said,  giving  me  that  encompassing 
smile.  "I  have  waited  forty  years  to 
play  a  part  that  had  drama  as  well  as 
comedy.  I  used  to  go  around  New  York 
when  I  was  with  Weber  and  Fields,  beg- 
ging managers  to  give  me  a  chance  in 
drama.  Begging  them,  my  dear.  And 
they'd  pat  me  on  the  back  and  tell  me 
how  funny  I  was. 

"Charlie  Frohman  was  going  to  give 
me  a  chance.  He  thought  I  could  do  it. 
We  had  it  all  arranged  when  the  Ti- 
tanic went  down  and  he  went  down 
with  it.  Even  the  icebergs  were  against 
me.  So  I  went  into  'Tillie's  Night- 
mare' and  played  it  for  so  many  years 
it  became  an  institution — and  I  finally 
did  it  in  pictures." 

Yet  deep  down,  Marie  loves  comedy, 
respects  it. 

I  sat  next  to  her  at  Mabel  Normand's 
funeral.  I  felt  pretty  badly  myself,  be-, 
cause  I  had  loved  Mabel  Normand  like 
a  sister,  we  had  been  chums  in  our 
youth.  I  tried  to  keep  a  grip  on  my- 
self, not  to  break  down,  and  I  was  do- 
ing pretty  well  as  I  gazed  at  the  masses 
of  flowers  that  hid  Mabel  from  us  for- 
ever, when  I  looked  at  Marie's  face  and 
that  finished  me. 

"The  waste,"  she  whispered,  "the 
waste.  The  genius.  That  noble  spirit. 
To  go  so  soon  and  with  so  little  ac- 
complished of  all  she  might  have  done." 
Later,  as  we  all  stood  outside,  she  said 
(Continued  on  -page  125) 


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The  New  Movie  Magazine 


The  N  E W 
MOVIE 

ALBUM 

It  tells  you  all  the  facts 
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your  favorite  stars  .  .  , 
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The  Star  motion  picture  theater  at  Westbrook,  Maine,  where  Rudy  Vallee  worked 
his  way  from  sweeper  to  projection  machine  operator. 

Home  Town  Stories  of  the  Stars 

(Continued  from  page  45) 


in  having  a  college  education  was  to 
attain  culture,  poise  and  to  know  how  to 
obtain  more  knowledge.  Although  Rudy 
remained  at  Maine  University  only  a 
year  he  experienced  his  first  taste  of 
fame  in  a  small  way. 

Scattered  all  over  the  country  are 
men  and  women  who  boast  that  they 
used  to  dance  to  Rudy's  saxophone, 
playing  back  in  the  days  when  they 
were  college  students.  The  love  for 
this  university  has  never  ceased  to  be 
big  and  sincere.  Today  he  has  popular- 
ized University  of  Maine's  Stein  Song 
all  over  the  country.  Thousands  of 
radio  fans  who  have  heard  Rudy's 
interpretation  of  this  stirring  march- 
ing song  have  begged  broadcasting  sta- 
tions that  it  be  repeated. 

WHILE  in  the  university  he  went 
to  New  York  to  see  Rudy  Wie- 
doeft,  from  whom  he  got  the  nickname 
"Rudy."  Mr.  Wiedoeft  told  him  that 
his  artistic  ability  was  there,  but  that 
he  lacked  technique.  If  Rudy  lacked 
technique  he  would  achieve  it.  And  he 
did,  by  playing  three  nights  a  week 
at  dances  to  earn  his  way  through  col- 
lege and  the  other  nights  practicing  in 
various  buildings  on  the  campus.  Dur- 
ing the  year  some  prig  complained 
that  his  practicing  kept  the  students 
awake.  Rudy  then  hired  the  town 
hall  and  an  old  Victor.  There,  night 
after  night  and  far  into  the  morning 
he  would  practice  with  the  phono- 
graph records  to  guide  him  as  a 
teacher. 

The  next  year  he  went  to  Yale.  There 
he  organized  the  Yale  Collegians — the 
same  bunch  of  boys  that  are  now  with 
him  as  the  Connecticut  Yankees.  The 
same  popularity  that  later  was  to  come 
to  him  in  the  public  eye  was  his  while 
he  was  at  Yale. 

He  first  became  known  as  a  crooner 
of  tunes   to   his   fellow  students  when 


he  and  his  orchestra  were  engaged  to 
play  during  meals  in  the  college  dining 
hall.  The  Yale  men  had  expressed  the 
opinion  that  sometimes  the  food  was 
"not  so  hot"  but  that  good  music  would 
have  a  balancing  influence.  Later,  when 
the  college  executives  felt  the  need  of 
reducing  expenses,  the  dinner  orchestra 
went  under  the  knife.  A  most  awful 
howl  of  protest  went  up  from  the  stu- 
dent body,  but  the  orders  stood.  Two 
days  of  eating,  without  the  mellowing 
influence  of  Rudy's  crooning,  passed 
and  became  unendurable. 

One  night  there  was  the  usual  gath- 
ering of  500  and  more  students  in  the 
dining  hall,  and  apparently  nothing 
was  unusual.  At  a  given  signal,  how- 
ever, the  lights  went  out  and  pande- 
monium broke  loose.  Tables,  chairs, 
dishes  and  food  were  overthrown  and 
thrown  over  everything  and  in  a  united 
voice  the  cry  went  up  "We  want  Vallee 
and  his  music."  Order  was  restored  and 
the  happy  ending  came  with  the  re- 
appearance, permanently,  of  Rudy  and 
his  music. 

RUDY  received  his  A.B.  at  Yale  in 
June,  1927.  He  then  took  his  boys 
to  New  York,  where  they  started  to 
play  in  Don  Dickerman's  Heigh-Ho 
Club  in  the  Village. 

"We  got  the  chance  to  play  in  this 
club  catering  to  the  ultra-elite  and  we 
won.  I  worked  out  my  own  ideas.  No 
one  helped  or  hindered  me." 

Loathing  steady  night  engagements, 
he  tried  to  break  into  the  club  racket 
which  paid  better.  Finally  he  went  to 
Herman  Birnie.  Birnie,  who  really 
needed  a  sax  player,  wasn't  favorably 
impressed  but  later,  after  looking 
through  Rudy's  scrapbook,  changed  his 
mind  and  Rudy  came  back  the  second 
time.  The  third  time  Birnie  gave  him 
an  audience.  Rehearsal  was  ready 
(Continued  on  page  127) 


124 


The  New  Movie  Magazine 


The  Thunder  Thief 

{Continued  from  page  123) 

to  Mary  Pickford  and  Marion  Davies, 
"There  is  the  end  of  genius.  None  of 
us  could  hold  a  candle  to  her.  We  have 
been  here  today — you  and  I  and  Charlie 
Chaplin  and  Harold  Lloyd  and  Ben 
Turpin  and  Constance  Talmadge  and 
Roscoe  Arbuckle  and  Mack  Sennett,  all 
of  us  who  have  loved  comedy,  to  pay 
our  last  respect  to  the  very  spirit  of 
comedy,  to  the  muse  of  comedy.  The 
joy  she  could  have  given  the  world! 
Let  us  not  forget  that,  nor  forget  al- 
ways to  defend  her  memory  against 
those  who  did  not  know  her  and  could 
not  understand  the  problems  and  the 
circumstances  which  defeated  her.  I 
wish  she  had  been  my  daughter." 

There  speaks  the  real  Marie  Dressier. 

YET  there  is  a  ruthless,  impatient 
screak  in  her,  too.  An  old-time  stage 
star  who  has  a  habit  of  long  reminis- 
censes  which  bore  almost  to  extinction, 
came  up  to  her  on  the  lot  the  other  day. 

"Go  away,"  she  said,  "go  right  away. 
I'm,  too  tired.  I  haven't  time.  Do  go 
away." 

Half  an  hour  later  on  the  set  I  saw 
her  take  little  Sally  Eilers  off  behind 
a  bit  of  scenery  and  spend  two  hard 
hours  teaching  pretty  Sally  how  to  get 
the  most  out  of  her  lines. 

Marie  loves  work — her  own  and  ev- 
erybody else's.  If  ever  a  trouper  died 
in  her  boots,  Marie  will.  Yet  she's  al- 
ways crabbing. 

When  after  "The  Callahans  and  the 
Murphys"  she  was  out  for  almost  a 
year,  she  literally  had  fits  all  over  the 
place. 

"Everything  is  going  to  be  all  right," 
Frances  Marion  told  her.  "Just  be  pa- 
tient." 

"I  can't  be  patient,"  said  Marie,  with 
that  well-known  twist  of  her  shoulders. 
"I'm  not  a  patient  woman.  I  want 
work.  I've  worked  since  I  was  fifteen. 
I  want  a  job." 

When  she  began  to  get  one  job  after 
another,  two  pictures  at  once,  she  said, 
"What  do  they  think  I  am — triplets?  I 
don't  do  anything  but  work,  work,  work. 
Can't  they  give  a  woman  a  rest.  I'm 
sorry.  I'd  love  to  play  bridge,  but  I'm 
too  tired.  I'm  too  tired  to  do  anything 
but  work." 

But  she  always  has  time  to  help  ev- 
erybody else,  straighten  out  everything, 
be  on  hand  when  there  is  trouble.  And 
she  said  recently,  "If  I'd  keep  my  nose 
out  of  other  people's  business  and  my 
mouth  shut,  I  wouldn't  be  so  tired 
nights." 

But  then  she  wouldn't  be  Marie 
Dressier. 

Born  in  Canada,  she  has  a  passion 
for  Europe,  where  she  is  very  popular 
socially — a  distinguished  figure  among 
distinguished  groups.  They  understand 
and  value  Marie.  She  is  invited  to  stay 
in  English  country  houses  and  French 
chateaux  and  Italian  villas. 

"When  I'm  through  in  pictures,"  she 
says,  "I  shall  live  in  Europe." 

But  I  doubt  if  Marie  will  ever  be 
through  in  pictures. 


Watch  for  Herb  Howe's 
HISTORY    OF 
HOLLYWOOD 

in  Next  Month's  NEW  MOVIE 


The  little 

sponge  that  does 
the  big  job.  Bright- 
ens the  kitchen- 
ware.  Lightens  the 
housework.  Squeeze 
it  in  your  hand,  it's 
as  soft  as  lamb's 
wool.  Caked  and  crusted  greasy  pots  and 
pans  shine  like  new  with  very  little  rub- 
bing. Effectively  used  on  silver,  china, 
glassware,  woodwork  or  floors ;  aluminum 
or  Pyrex  ware.  Removes  spots  from  glass ; 
grease  and  film  stains  from  nickeled,  plated 
or  metal  surfaces.  Will  not  splinter  or 
scratch — keeps  the  hands  dainty  and  white. 

If   your   dealer   cannot   supply   you,   send 
10c   for   full   size   sample. 
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Instant  relief  for 


Noxzema  best  remedy 
Beach  Authorities  Find 


What  better  recom- 
mendation could  a 
sunburn  remedy  have 
than  that  of  the  doc- 
tors, life-guards  and 
beach  authorities  at 
America's  largest  re- 
sorts? At  Atlantic 
City,  Coney  Island 
and  other  big 
beaches,  they  use  and 
advise  Noxzema 
Cream. 

John  McMonigle, 
director  of  85  life- 
guards at  famous 
Coney  Island,  N.  Y., 
says  of  Noxzema, 
"This  is  the  fifth 
season  we've  been 
using  it  in  our  First 
Aid  Station  here  at 
Coney.  It  cools  and 
soothes    and     relieves 


John  McMonigle 

Chief   Life-Guard 

Coney  Island 


the    soreness    and    burning    almost    instantly." 

Don't  let  sunburn  spoil  a  single  day  of  your 
summer.  Apply  Noxzema  before  exposure  to  pre- 
vent burning.      Apply  it  promptly   after  burning  for 

quick    relief.       It'n    greaseless annot    Main    your 

clothes.      Sold  at  all  drug  and   department   stores- 
small   sizo  at  most   Woohvorth   Stores. 


How  JEANETTE  LOFF 
...keeps  her  hair  golden 

"T  DEPEND  on  just  one  shampoo  to  keep  my 
1  hair  bright  and  silky  so  that  it  always  photo- 
graphs well  —  Blondex,"  says  Jeanette  Loff, 
lovely  Universal  star.  "It's  wonderful.  Prevents 
darkening — leaves  my  hair  soft  and  silky,  gleam- 
ing with  golden  lights.  It's  fine  for  the  scalp, 
too — promotes  healthy  growth.  And  that's  some- 
thing, these  days!" 

Blondex  brings  back  true  color  to  dull,  faded 
blonde  hair.  Safe — contains  no  harmful  dyes  or 
chemicals.  Gives  new  life  to  hair  and  scalp.  Used 
by  over  a  million  blondes.  On  sale  at  all  good  drug 
and  department  stores.    Get  Blondex  TODAY ! 


Sta- 
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Sta-Rite  Hairpins  are 
cleverly  made  to  fasten 
into  the  hair  with  a 
twist  that  holds  •  No 
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125 


The  New  Movie  Magazine 


AFTER  BATHING 


and  OTHER 
SPORTS 
YOUR  HAIR 

NEEDS . 


STYLSET 

The  hairdressing  used  ever)' where 
by  men,  women  and  children  be- 
cause it  keeps  the  hair  neat  and 
orderly  and  is  not  greasy.  Can  be 
used  for  water  aud  finger  waving. 

STYLWAVE 

The  new  water  and  finger  waving 
lotion  receiving  spontaneous  en- 
dorsement from  women  everywhere. 
Sets  a  finger  or  water  wave  easily 
and  quickly  and  is  non-greasy. 

STYLSET  and  STYLWAVE 

Sold  in  ."»(.'  and  I(H'  stores 

15<  in  the  far  west  and  Canada 
CABR V  &  (O)ir.VM'. New  York,  >.  V. 


USED    AROUND    THE    WORLD 


IMMEDIATE  RELIEF 
and  FOOT  COMFORT ! 
Dr.  Rudolph's  Arch  Belt 

Heg.  TJ.   S.  Pat.   Off. 

"Can't  be  beat —     — For  aching  feet" 

DON'T  SUFFER  from  Cramps  in  Toes,  Less, 
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A.  This  bone 
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B.  Dr.  Ru- 
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Belt  holds  the 
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place. 


Slip  on  a  pair  of  Dr.  Rudolphs  Arch  Beltl  Walk,  Stand, 
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UNAFFECTED     BY     BATHING     OR     PERSPIRATION 


One  application  of  Coloura  darkens  eye- 
brows and  lashes  permanently.  You 
don't  need  any  daily  eyebrow  make-up. 
Used  by  stage  and  screen  stars.  Un- 
affected  by  bathing,  perspiration,  etc. 
Easily  applied,  harmless.  Sold  at  toilet 
goods  counters  and  beauty  shops.  Order 
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At  all  drug,  shoe  and  dept.  stores 


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'    Address. 


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>    32-page    book    with  list   of   Government 
P  Joba    now   open    to    men,    women,  18    up. 
(2)    Tell  me  bow  to  get  a  position. 


Cecil  De  Mille,  Kay  Johnson,  his   leading  woman,  and    Elsie  Janis,  who  is   now 
writing  Hollywood  songs,  caught  between  scenes  of  the  new  De  Mille  production, 

"Madam  Satan." 

Won  by  a  Nose 

(Continued  from  page  36) 

sion,  the  person  without  the  third 
bump  is  lacking  in  ability  to  defend 
against  aggression  in  others.  This 
leads  to  the  development  of  timidity, 
jealousy  and  sarcasm,  each  more  of  an 
exaggeration  of  the  same  basic  lack. 
These  are  unpleasant  traits,  but  ones 
generally  ascribed  to  actors  and  ac- 
tresses by  their  own  jokes  among  them- 
selves. This  lack  of  self  defense  makes 
an  actress  with  a  retrousse  nose  an 
ideal  person  for  the  slick-tongued  sales- 
men, glib  Romeos  and  poor  relations. 
She  may  realize  she  is  weak,  yet  will 
give  in  in  spite  of  her  good  sense. 

The  string  of  poor  relations  and 
other  dependents  that  hang  on  the 
skirts  of  picture  stars  is  still  further 
testimony  for  this  lack  of  self  de- 
fense. Verily  the  retrousse  is  the 
actress's  nose! 

A  racial  example  of  this  lack  are  the 
Chinese.  Of  passive  nature,  idealists, 
dreamers,  they  possess  the  concave 
nose. 


THE  retrousse  is  frequently  accom- 
panied by  the  short  upper  lip. 
This  was  considered  a  beauty  point, 
and  still  is,  to  some  extent,  for  the 
mouth  when  at  rest  shows  part  of  the 
teeth  and  is  considered  to  lend  anima- 
tion and  appeal  to  the  face.  The 
phrenologist's  side  of  the  story  is  that 
a  short  upper  lip  means  love  of  ap- 
plause. The  retrousse,  which  in  itself 
means  lack  of  force  and  ambition,  must 
have  a  feature  in  the  face  to  supply 
this  lack.  An  overpowering  love  of  ap- 
plause is  told  by  the  short  lip.  This 
then  supplies  the  motive  force. 

Any  true   artist   must   possess   this, 
whether  found  in  the  nose,  lip  or  some 


other  feature.  The  response  of  an 
artist  to  an  audience  is  a  well-known 
phrase  for  that  pickup  in  her  work 
that  the  actress  has  when  the  applause 
tells  her  the  audience  is  with  her.  A 
true  artist  exceeds  himself  when  stim- 
ulated by  applause.  Love  of  applause, 
as  it  is  called,  laudation,  is  a  heady 
stimulant  to  ambition,  and  the  short 
upper  lip  supplies  this. 

Love  of  display,  of  dress,  of  form 
and  color,  are  accompanying  traits  in 
the  short  lip.  The  dress  shops  and 
jewelers  and  furniture  shops  tell  the 
tale  in  Hollywood. 

WHILE  the  retrousse  expresses 
weakness,  as  opposed  to  force  in 
the  character,  this  trait  can  be  made 
up  for  by  width  of  nose,  at  the  tip,  or 
along  the  whole  nose,  viewing  it  from 
the  front.  Vivian  Duncan,  of  the  famous 
Duncan  Sisters,  possesses  such  a  nose. 
A  wide  nostril  also  expresses  strength. 
Cogitation,  or  thoughtfulness,  is  ex- 
pressed by  the  base  of  the  nostril.  This 
is  called  by  the  phrenologists  reason. 
Look  at  Vivian  Duncan;  when  con- 
fronted with  all  the  charm  of  Nils 
Asther,  did  she  lose  her  head  as  most 
girls  would?  No,  she  actually  broke 
her  engagement  to  think  it  over  while 
she  went  on  a  long  tour  and,  while  the 
engagement  has  been  re-established,  the 
marriage  does  not  seem  so  imminent 
yet.  Then  there  is  Clara  Bow  and 
Harry  Richman;  the  red  hair  and  re- 
trousse nose  can't  get  Clara  past  the 
cogitativeness  of  the  broad-ended  nose. 
Without  this  wide  nose  end,  the  re- 
trousse is  not  a  reasoning  nose.  It  is 
an  emotional  nose,  a  feminine  nose  that 
(Continued  on  page  130) 


126 


The   New  Movie   Magazine 


HomeTownStoriesoftheStars 


(Continued  from  page  124) 


when  he  invited  Rudy  to  play.  There 
in  the  dusk  of  a  smoky  room  with  other 
musicians  around  Rudy  Vallee  played 
his  saxophone.  Then  and  there  Birnie 
offered  him  nine  engagements  at  $14 
a  week,  barely  enough  to  keep  from 
starvation.  It  was  the  beginning  of 
the  breaks. 

On  March  13,  1929,  the  folks  back 
home  in  Maine  received  word  that  Rudy 
had  taken  a  contract  with  the  Para- 
mount Company  of  New  York  at  a  sal- 
ary of  $4,000  a  week  for  a  period  of 
ten  weeks.  A  letter  to  his  parents 
stated  that  he  had  insured  his  voice 
for  $250,000.  The  breaks  were  coming 
fast. 

Previous  to  the  contract  he  was  a 
National  Broadcasting  artist  and  broke 
records  at  a  Keith  Broadway  theater. 
It  was  during  one  of  those  broadcasts 
that  he  announced  to  his  orchestra  that 
he  was  going  to  sing  the  choruses  of 
the  selections.  The  boys  thought  he 
had  gone  "daff."  Rudy  sang,  however, 
and  the  result  was  more  fame. 

ONE  of  the  biggest  breaks  was  the 
trip  to  Hollywood  where  he  and 
the  Yankees  made  "The  Vagabond 
Lover"  for  RKO.  Rudy's  own  song, 
"The  Vagabond  Lover,"  was  one  of  the 
popular  hits  of  the  day.  Flashlights 
boomed  and  cameras  cranked  at  the 
Santa  Fe  station  at  Hollywood  and 
the  Governor  and  Mayor's  representa- 
tives pushed  with  the  belles  of  filmland 
for  a  glimpse  of  the  crooner  of  love 
songs.  A  twelve-foot  key  was  pre- 
sented to  him.  It  was  a  'typical  movie 
welcome,  with  the  exception  that  the 
cynosure  of  all  eyes  had  his  arms 
around  a  little  wisp  of  a  woman,  his 
mother,  and  a  rotund  man,  his  father. 
Not  allowing  them  to  stand  in  the 
background,  Rudy  introduced  them,  too, 
and  the  crowd  went  mad  with  delight. 

"It's  because  you  are  my  mother 
that  people  tell  you  those  nice  things 
about  me,"  he  remarked  to  his  mother 
when  she  repeated  praise  heard  on  a 
certain  occasion. 

"And  that  has  always  been  his  atti- 
tude toward  his  success,"  she  explained. 
"He  hardly  ever  takes  credit  for  him- 
self. In  the  band  it's  the  boys  and  in 
the  picture  it  was  the  other  members 
of  the  cast." 

From  Hollywood  Rudy  went  back  to 
New  York.  Back  to  his  beloved  radio, 
night  club,  theater  public  which  necessi- 
tates getting  up  in  the  morning  be- 
tween eight  and  nine  o'clock,  devoting 
the  morning  to  business  at  hand,  such 
as  making  records,  holding  rehearsals 
and  sitting  for  his  pictures.  Between 
twelve  and  one  o'clock  he  goes  to  the 
theater  where  his  orchestra  plays  from 
four  to  five  shows  a  day.  At  eleven 
o'clock  .the  day  is  still  young.  Three 
hours  more  of  music  at  his  Villa  Vallee, 
a  place  of  mirrored,  paneled  walls  and 
soft  hued  hangings,  brings  the  clock 
near  3  A.  M.  That  puts  him  to  bed 
about  four  in  the  morning.  He  appears 
twice  a  week  now  on  NBC;  Thursday 
night  on  a  coast-to-coast  chain  and 
late  Saturday  nights  in  a  broadcast 
from  his  club  on  WEAF  only. 


HIS  book,  "Vagabond  Dreams  Come 
True,"  was  published  the  latter 
part  of  last  winter.  Rudy's  autobi- 
ography is  a  straightforward  account 
of  his  struggles,  sincerity  marking  the 
entire  story.  One  cannot  help  but  ad- 
mire him  for  this.  His  love  of  music 
is  stressed  throughout  the  story.  He 
proves  in  the  book  that  he  is  not  a 
home  wrecker,  a  warbling  sheik  with 
lots  of  luck  and  a  few  brains.  Rather 
does  he  prove  that  he  is  a  capable 
young  man  who  has  brought  talent  and 
intelligence  and  hard  work  to  his  fight 
for  success. 

He's  a  tall,  blond-haired  youth  with 
a  bit  of  curl  in  his  hair.  He  has  blue 
eyes,  peculiarly  close  together  and  half 
open,  as  if  he  were  sleepy.  But  he's  no 
Adonis.  Rather  not,  just  a  clean  Amer- 
ican boy  with  a  personality. 

"I  have  no  illusions  about  myself,  my 
success  or  my  voice.  My  voice  isn't 
musical  in  the  exact  sense  of  the  word. 
I  have  tried  to  sing  songs  that  tell  a 
story — sentimental  songs  that  bring 
back  memories.  I  try  to  sing  clearly, 
pronouncing  each  word  distinctly.  The 
sympathetic  quality  comes  from  my 
mother,  whose  voice  has  a  soothing 
quality. 

"I  realize  that  ours  is  a  radio  band. 
We  owe  our  success  to  the  radio  fan. 
I  hope  that  the  day  will  never  come 
when  I  am  not  a  source  of  pleasure  and 
interest  on  the  air.  I  know  that  I  will 
always  want  to  broadcast,  as  I  am 
never  so  happy  as  when  before  the 
microphone.  When  I  broadcast  I  put 
my  theories  into  practice  and  these  the- 
ories are  that  people  are  tired  of  jazz. 
Millions  come  home  worn  out  after  a 
day's  work  with  the  jangle-jangle  of 
life's  activities  still  in  their  ears  and 
they  want  to  relax,  to  listen  to  some- 
thing soothing  and  softly  sung." 

THE  personality  of  this  boy  whose 
meteoric  rise  to  fame  has  carved  a 
niche  for  himself  in  the  public's  affec- 
tion is  an  amazing  combination  of  show- 
manship and  reticence.  His  views  on 
love  and  marriage  would  be  considered 
old-fashioned.  His  showmanship  is  best 
expressed  by  these  words — "I  know  I 
have  a  damned  good  band.  I  slaved  my 
fingers  to  the  bone  to  whip  it  into 
shape.  I  felt  that  some  day  I  would 
receive  tremendous  results.  It  was  only 
a  question  of  sincerity  and  feeling.  Any 
little  thing  I  ever  did  in  my  life,  I 
tried  to  do  better  than  anybody  else. 
I  dislike  the  commonplace.  If  I  did 
anything  seriously,  I  wouldn't  present 
it  to  you  unless  it  were  different,  yet 
simple,  natural,  so  that  streetcar  con- 
ductors, stenographers,  mothers,  flap- 
pers or  grocerymen  would  understand." 
If  fame  is  fleeting — and  who  can 
deny  it  is  not— it  is  not  unattainable 
for  a  time.  Those  who  capture  it  and 
hold  it  for  a  short  space  of  years  pos- 
sess a  quality  that  eludes  being  caught 
and  shaped  into  words.  Perhaps  Rudy 
Vallee  can  be  more  easily  understood  if 
you  know  he  receives  more  money  a 
year  than  the  President  of  the  United 
States,  but  he  shaves  himself  and  de- 
lights to  eat  in  cafeterias. 


The  Home  Town  Stories  of  Amos  'n'  Andy 
The  real  boyhood  romances  of  radio's  most  popular  idols  who  are  coming 
to  talking  pictures.     Watch  for  this  sensational  feature. 


Watch  for  your  NEW  MOVIE  MAGA- 
ZINE  .    .    .   every  month  on  the   15th 

WHEN  YOUR  HANDS 
ARE  IMPORTANT 


COUNTLESS  times  in  the  course 
of  a  day,  eyes  focus  on  your 
hands.  Use  F-O  Nail  Polish  and 
you  will  know  that  your  nails  al- 
ways look  well  cared  for.  It  im- 
parts an  even,  lustrous  and  lasting 
finish  and  is  not  affected  by  water. 

You  will  find  F-O  Nail  Polish 
at  most  chain  stores.  Choose 
the  shade  you  prefer  —  Dark 
Red, Natural  PinkorColorless, 


NAIL 
POLISH 


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Albany 


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127 


The  New  Movie  Magazine 


New  Fluid  Restores  Finish  of  Old  Autos 


Unquestionably  this  is  one  of  the  greatest  discoveries 
in  the  automobile  field.  Think  of  it!  A  marvelous 
liquid  called  NUREX,  almost  magical  in  its  effect, 
does  away  entirely  with  all  polishes  and  waxes. 

WITH  A  SWEEP  OF  THE  HAND 
NUREX  requires  no  rubbing,  painting,  cleaning  nor 
waxing.  Just  a  sweep  of  the  hand  and  the  drab, 
dull  surface  vanishes  before  your  eyes  and  the  hidden 
color  gleams  forth  with  wonderful  lustre.  Your  car 
then  looks  like  it  just  came  from  a  paint  shop  and 
the  beautiful  new  finish  will  last  indefinitely. 

PAYS  BIG  MONEY  TO  AGENTS 
By  merply  showing  NUREX  you  will  make  big  money.     Every  car 
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Last  Days  of  Valentino 

Lest  We  Forget  — RUDOLPH  VALENTINO 
Born — Castellaneta,  Italy,  on  May  6,  1895 
Died — New  York  City,  on  August  23,  1926 

(Continued  from  page  43) 


though  possessed  of  the  devil,  he  would 
leap  up  and  go  forth  to  a  company 
that  was  always  awaiting  him. 

He  squandered  money  in  lavish  gifts. 
He  bought  a  hundred  suits  of  clothes. 
He  indulged  in  all  the  expensive  pleas- 
ures of  the  most  sirenic  city  of  the 
world. 

Suddenly,  tired  of  Paris,  he  drove  his 
Isotta  Fraschini,  costing  ten  thousand 
dollars,  to  the  Riviera.  One  night  in 
the  Casino  of  Cannes  he  flung  away  a 
half  million  francs  at  baccarat,  which 
he  did  not  know  how  to  play,  simply 
because  he  had  the  whim  of  impressing 
a  pretty  girl  at  the  table. 

MONEY  never  meant  anything  to 
Rudie.  When  he  parted  with 
Natacha  he  asked  her  to  choose  what 
she  wanted.  She  selected  a  collection  of 
ivories  which  he  had  purchased  in  India 
at  a  cost  of  a  hundred  thousand  dollars. 
He  gave  her,  besides,  the  furnishings 
of  his  New  York  apartment  and  jewels 
that  have  been  estimated  at  fifty  to  a 
hundred  thousand. 

From  Cannes,  Rudie  motored  to 
Paris.  There  again  he  plunged  into 
the  vertigo  of  night  pleasures. 

"He  goes  through  life  like  a  bull 
through  a  china  shop,"  exclaimed  Ber- 
telli,  American  news  correspondent  in 
Paris. 

On  a  sudden  whim,  Rudie  took  off  for 
Berlin  without  heeding  vise  regula- 
tions. He  entered  Germany  easily 
enough  but  was  refused  permission  to 
leave.  His  papers  were  not  in  order. 
The  Germans  resented  a  movie  actor 
taking  such  privileges.  They  particu- 
larly resented  Rudolph  Valentino,  who 
had  played  in  the  anti-German  picture, 
"The  Four  Horsemen."  His  case  was 
so  serious  that  Manuel  appealed  to 
Ortiz  Rubio,  new  president  of  Mexico, 
who  was  then  Mexican  Ambassador  to 
Germany.  Senor  Rubio  sent  Rudie's 
passport  direct  to  Stresemann.  He 
sent  it  at  nine  o'clock  in  the  morning. 
It  was  not  returned  until  six  that  eve- 
ning with  Stresemann's  0.  K. 

Back  in  Paris,  Manuel  decided  to  give 
Rudie  a  dinner  that  would  delight  him. 
Rudie  did  not  seek  dissipation;  his 
craving  was  aristocratic  society.  He 
wanted  more  than  anything  else  to 
meet  the  Prince  of  Wales,  an  ambition 
that  was  never  realized. 

The  banquet  Manuel  arranged  for 
Rudie  was  one  of  the  most  brilliant 
Paris  has  known.  It  delighted  the  boy 
spirit  of  Rodolpho.  On  his  right  sat 
the  Grand  Duke  Alexander  of  Russia, 
on  his  left  Madame  Bertelli.  Circling 
the  great  round  table  were  such  celebri- 
ties as  the  Comtesse  Bernsdorff,  Com- 
tesse  D'Orsay,  Lady  Millicent  Hawes, 
Baronne  Daubet,  Marquis  de  Castel- 
lane,  Comte  San  Just,  Henri  Letellier, 
M.  Andre  de  Fouquieres,  the  Mexican 
Ambassador,  and  many  other  distin- 
guished persons  of  social  and  diplo- 
matic circles. 

I  think  that  night  the  worldly  dream 


of  the  simple  peasant  of  Apulia  was 
completely  realized.  The  Paris  papers 
next  day  said:  "Forty  pairs  of  friendly 
eyes  drank  in  the  magic  of  the  Master 
Sheik  at  a  luxurious  dinner  given  in 
his  honor  at  the  Ritz.  .  .  ." 

BACK  in  the  United  States  to  which 
he  was  forced  to  return  by  the 
terms  of  his  contract,  Rudie  found  ex- 
hilaration in  driving  his  car  sixty  miles 
an  hour.  Driving  from  San  Francisco 
to  Los  Angeles,  he  shot  straight  into  a 
freight  train.  Oddly  a  post  intervened 
and  whirled  the  car  around.  Undaunted, 
laughing,  Rudie  leaped  out  and  took  a 
picture  of  the  wreck. 

His  continued  rashness  brought  a 
rebuke  in  the  form  of  an  editorial  in 
The  Los  Angeles  Examiner'. 

Rudie  was  not  attempting  suicide. 
He  had  too  much  egotism  for  that.  It 
was  simply  that  he  was  jaded  with  the 
things  the  world  had  given  him,  disap- 
pointed in  those  denied  him.  So  he 
sought  the  thrills  of  the  moment. 

He  was  taken  from  a  party  in  New 
York  to  a  hospital,  where  he  died,  with- 
out a  friend  near  him.  No  one  knows 
what  his  last  words  were.  I  like  to 
think,  knowing  Rudie,  that  they  were 
the  same  he  murmured  dying  in  "The 
Four  Horsemen" — Je  suis  content. 

The  ceremonials  of  three  weeks  at- 
tending his  burial  were  arranged  by 
producers  who  wished  to  keep  publicity 
alive  while  prints  of  his  last  picture 
were  being  hastily  distributed. 

FOR  a  week  his  body  lay  in  state  like 
an  emperor's,  the  populace  surging 
around  the  catafalque  to  pay  tribute 
or  gaze  curiously.  Then,  in  triumph, 
he  was  brought  back  to  Hollywood, 
whose  magic  lamps  had  transformed 
him  in  the  space  of  five  years  from  a 
penniless  cabaret  dancer  into  a  fabu- 
lous Csesar  of  a  fabulous  realm.  Mean- 
while, behind  the  curtain  of  these  pro- 
longed ceremonials,  the  film  men 
worked  feverishly,  rushing  out  two  hun- 
dred prints  of  his  last  picture;  previ- 
ously when  a  favorite  had  died,  his  un- 
released  picture  had  been  a  total  loss, 
but  theaters  cashed  in  on  Rudie's  while 
headlines  fanned  the  public  interest — 
and  to  their  surprise  continued  to  cash 
in  long  after  the  funereal  fanfare  had 
passed. 

Thus,  even  as  taps  sounded  over  his 
earthly  triumph,  there  was  the  insist- 
ent note  of  a  relentless  irony. 

"Requiem  aeternam  dona  eis  Domine." 
Incense  buried  the  flowers  in  a  cloud, 
submerged  their  fragrance.  Over  the 
heads  of  the  kneeling  people  rolled,  at 
length,  the  final  chant  of  the  requiem 
mass.  Cameras  clicked,  flashlights 
boomed.  In  the  street  the  milling  thou- 
sands were  held  back  by  police. 

He  went  to  his  grave  as  princes  go. 

Through  it  all  I  kept  recalling  what 
he  once  said  to  me  in  a  long  discussion 
of  spiritual  matters:  "Why  should  I  go 
to  church,  since  God  is  everywhere?" 


The   New  Movie  Magazine 


We  Have  With  Us  Tonight 


(Continued  from  page  91) 


MARY  BRIAN:  Let  all  you  peo- 
ple who  have  scornfully  asked 
the  question,  "What  becomes  of  all  the 
beauty  contest  winners?"  now  hang 
your  heads  in  shame,  for  next  on  the 
program  tonight  we  have  one  of  them. 
She  is  none  other  than  Mary  Brian. 
Now  don't  you  wish  you  hadn't  asked 
it?  It  shows  that  some  of  them  reach 
the  top  and  turn  out  all  right  after  all. 

Our  Mary  was  born  in  Corsicana, 
Texas,  February  17,  1908,  and  the  name 
written  down  in  the  Bible  is  Louise 
Dantzler. 

This  is  how  she  got  the  name  Mary 
Brian:  She  was  named  for  her  mother, 
whose  first  name  was  Louise;  when 
time  came  for  her  to  select  her  name 
she  decided  to  take  some  other  name 
than  her  mother's  and  chose  the  good 
old  stand-by  of  Mary.  Her  father's 
middle  name  was  Brian,  and  also  she 
was  attending  the  Bryan  High  School 
in  Dallas,  and  so  Mary  Brian  she  be- 
came. 

Here  is  a  queer  thing  about  Mary 
Brian — she  is  one  of  the  loveliest  and 
most  delicate  of  the  film  stars.  To  look 
at  her  you  would  think  she  had  been 
brought  up  on  a  down  pillow  on  Park 
Avenue.  But  not  at  all.  Mary's  father 
died  when  she  was  a  month  old  and  her 
mother  took  her  to  an  uncle's  ranch  in 
Texas,  so  she  grew  up  in  the  great 
open  spaces  where  men  are  men  and  a 
girl  can  shoot  a  rattlesnake  in  the  eye 
at  thirty  paces. 

Leaving  Texas,  her  mother  brought 
her  to  Los  Angeles  and  while  they  were 
living  there  a  neighbor  made  a  snap- 
shot of  Mary  and,  unknown  to  her,  en- 
tered the  picture  in  a  beauty  contest. 
When  the  judges  saw  the  picture  they 
broke  into  poetry  and  Mary  broke  into 
fame.  Her  first  film  part  was  as 
Wendy  in  "Peter  Pan." 

No,  boys,  she  is  not  married.  She 
lives  with  her  mother  in  an  apartment, 
but  I  won't  tell  you  the  address.  It 
wouldn't  be  fair  to  the  traffic  officers  in 
Hollywood.  When  they  saw  you  rush- 
ing in,  they'd  think  Iowa  was  having  its 
annual  reunion. 

t>  ETTY  COMPSON:  Do  you  remem- 
•*-*  ber  in  the  days  of  old  how  it  used 
to  be  that  all  the  Presidents  of  the 
United  States  had  to  be  born  in  a  log 
cabin,  or  they  were  simply  considered 
no  good  ?  In  fact,  a  man  didn't  dare 
to  try  to  run  unless  he  could  say  that 
he  had  been  born  in  a  log  cabin. 

Time  passed  and  the  log  cabin  faded 
out  and  no  more  was  heard  of  it.  And 
now  bang!  here  is  a  movie  star  who 
was  born  in  one— BETTY  COMPSON. 
And  it  was  in  a  town  that  had  prac- 
tically nothing  but  log  cabins,  for  it 
was  the  small  mininsr  hamlet  of  Frisco, 
Utah — so  small  that  an  eagle  had  to 
put  on  glasses  to  see  it.  The  date  the 
big  event  occurred  in  the  log  cabin  was 
March  18,  1897. 

But  the  name  they  sprinkled  on  her 
in  the  little  log  cabin  wasn't  Betty 
Compson.  It  was  Luicieme  Compson, 
but  whoever  heard  of  the  given  name 
Luicieme? 

Well,  that's  the  reason  Luicieme 
changed  it. 

Betty's  father  was  a  mining  engineer 
and#  a  college  graduate,  but  luck  was 
against  him  and  he  never  found  the 
mother  lode.    He  died  when  Betty  was 


only  a  child  and  the  wolf  came  and 
scratched  the  bark  off  the  logs. 

Betty's  mother  picked  her  up  and 
they  moved  to  Salt  Lake  City,  and 
there  Betty  grew  up  at  464  Third  Ave- 
nue, if  you  happen  to  stroll  down 
Third  Avenue  and  want  to  look  at  the 
number. 

The  wolf  followed  them  and  kept 
snapping  at  their  heels  until  Betty's 
mother  had  to  take  a  job  in  the  linen 
room  at  Hotel  Utah  in  that  city,  and 
Betty,  at  the  age  of  fifteen,  had  to  take 
a  job  playing  in  the  orchestra  at  the 
Mission  Theatre.  At  the  age  of  sixteen 
she  started  out  alone  for  San  Francisco 
to  conquer  the  world  with  her  fiddle, 
so  you  see  Betty  has  a  backbone  where 
a  backbone  ought  to  be. 

She  conquered  the  world  all  right, 
but  it  was  with  her  acting,  although 
she  could  go  out  today  and  bring  home 
the  family  meat  with  her  fiddle-bow. 

October  14,  1924,  she  married  James 
Cruze  who  gave  the  world  "The  Cov- 
ered Wagon."  But  Jimmie  and  Betty 
have  separated. 

GEORGE  O'BRIEN:  If  you  have 
ever  been  a  bad  man  in  San  Fran- 
cisco you  must  have  met  George 
O'Brien's  father,  as  he  was  Chief  of 
Police  in  San  Francisco  for  twenty 
years  and  knew  practically  everybody 
in  that  racket.  But  if  you  have  just 
entered  upon  such  a  career  recently, 
you  may  be  excused  for  not  knowing 
him,  as  he  has  given  up  meeting  under- 
world characters  and  is  now  living  in 
Hollywood. 

Here  in  San  Francisco,  George  was 
born  September  1,  1900.  George  O'Brien 
has  the  best  physique  in  Hollywood, 
and  when  he  hangs  a  cane  on  his  arm 
and  walks  down  Hollywood  Boulevard, 
girls  follow  along  behind  him,  sighing 
and  quoting  poetry.  And  when  he  puts 
on  a  bathing  suit  and  saunters  up  and 
down  the  beach  before  taking  a  dip, 
the  police  have  to  come  and  club  the 
girls  back  so  that  the  tide  can  come  in. 

Once  it  looked  as  if  he  and  Olive 
Borden  were  going  to  Niagara  Falls 
together,  but  quite  a  bit  of  water  has 
gone  over  since  then,  and  they  have 
not  taken  the  plunge,  so,  girls,  you 
still  have  a  chance  to  get  on  the  good 
side  of  the  police  department. 

George  lives  with  his  father  at  Mal- 
ibu  Beach,  which  is  a  suburb  of  Hol- 
lywood (or  so  Hollywood  says)  and 
every  morning  he  puts  on  his  bathing 
suit  and  goes  out  for  a  swim.  Bring 
your  field  glasses  and  come. 

George  does  not  smoke,  and  he  does 
not  drink,  so  you  would  never  have  to 
sweep  up  any  cigarette  ashes  or  a  hus- 
band from  the  floor.  If  you  prefer  the 
kind  of  husband  who  gets  lit  up  and  is 
the  life  of  the  party  until  the  others 
have  gone  home — and  next  morning  is 
as  cross  as  Leo,  the  M-G-M  lion,  be- 
ing moved  to  a  new  cage,  then  don't 
send  your  picture  and  description  to 
George,  for  he  hates  liquor  and  you 
could  get  a  spoonful  of  liauor  down  his 
throat  only  by  throwing  him  and  using 
a  medicine  dropper.  And  to  do  this 
you'd  have  to  call  in  the  marines,  so 
maybe  you  had  better  take  him  just  as 
he  is. 

Address  him  at  Malibu  Beach,  post 
paid.  His  secretary  will  answer  your 
letter  when  he  gets  to  it. 


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Out  on  the  desert  near  Yuma,  Arizona,  Alexander  Korda  has  been  making  the  battle  sequences  for  Fox's 
"Women  Everywhere."     This  is  another  yarn  of  the  Foreign  Legion. 

Won  by  a  Nose 


(Continued  from  page  126) 


makes  decisions  on  feeling.  It  is  im- 
pulsive and  versatile  (a  fine  trait  for 
an  actress),  it  has  a  gift  for  mimicry. 
It  is  a  nervous,  sensitive  nose,  often  of 
a  delicate  constitution,  expresses  ami- 
ability when  the  sarcastic  and  jealous 
part  of  the  nature  is  not  roused  or  de- 
veloped ;  it  expresses  refinement,  a  spas- 
modic energy  rather  than  a  sustained 
steady  energy  such  as  is  possessed 
by  less  imaginative  and  emotional 
people;  it  has  diplomacy  and  tact.  It 
is  inquiring,  obstinate  (nature's  way 
of  overcoming  the  lack  of  aggression). 
It  is  frequently  capricious,  due  to  lack 
of  firmness;  in  fact,  it  seems  time  to 
tabulate  a  few  complimentary  and  un- 
complimentary traits  that  you  can  in- 
corporate into  your  own  theme  song. 


Complimentary 

adaptable 

humorous 

talkative 

optimistic 

intuitive 

sociable 


Uncomplimentary 

inquisitive 

changeable 

silly 

pert 

obstinate 

jealous 

capricious 

frivolous 

impulsive 

timid 

sarcastic 


THE  retrousse  also  expresses  a  ca- 
pacity for  memory  (what  a  help  that 
is  when  a  girl  has  a  lot  of  lines  to  learn 
every  night),  but  ordinarily  not  a  ca- 
pacity for  profound  thought.  This  is 
considered  a  feminine  trait  by  male 
phrenologists  but,  joking  aside,  women 
are  conceded  to  be  superior  linguists, 
and  to  excel  in  a  great  many  things 
which  require  superior  memories.  The 
psychologists  seem  to  feel  that  memory 
and  reason  are  opposed,  that  is,  that 
few  people  can  excel  in  both,  though  a 
certain  amount  of  memory  is  necessary 
to  reason  well,  for  if  one  had  no  mem- 
ory one  would  have  nothing  to  draw 
deductions  from.. 

A   large  love  nature  goes  with   the 
retrousse  nose. 

130 


Perhaps  the  greatest  gift  of  all  pos- 
sessed by  the  owner  of  the  retrousse 
nose  is  the  gift  of  cultivation.  Speaking 
plainly,  that  means  the  ability  to  adapt 
one's  self,  to  improve  and  to  take  the 
best  from  one's  surroundings  and  profit 
by  it.  The  Irish  are  a  nation  of  re- 
trousses. 

The  owner  of  the  retrousse  can  start 
at  the  bottom  and  rise  to  the  world's 
highest  places  and  grace  them.  The 
retrousse  can  slip  on  Cinderella's  glass 
slipper  and  it  fits;  the  Prince  Charm- 
ing really  need  not  look  further  than 
the  nose. 

The  pointed  tip  retrousse,  like  Gloria 
Swanson's,  brings  with  it  a  large  ca- 
pacity for  attention  and  observation 
and  also  curiosity.  Psychologists  say 
that  a  baby  is  given  curiosity  that  it 
may  educate  itself  by  satisfying  the 
curiosity.  This  is  true  of  adults;  the 
actress  may  learn  by  attention  and  ob- 
servation and  curiosity.  Such  powers 
are  accompanied  by  a  love  of  beauty  of 
form  and  color;  scenery,  architecture, 
painting,  all  of  them  mean  much  to  the 
sharp  tipped  nose.  Swanson  has  quite 
a  gift  for  sculpture,  it  is  well  known. 

POSSESSORS  of  the  long-pointed  re- 
trousse seem  to  be  the  most  distin- 
guished dramatic  actresses.  This  class 
includes  Swanson,  Gish,  Pauline  Fred- 
erick, Louise  Dresser,  Anna  Q.  Nilsson, 
Betty  Compson,  Barbara  LaMarr, 
Mary  Philbin,  Fay  Wray,  Norma 
Shearer  and  Colleen  Moore.  Colleen, 
though  a  comedienne,  has  demonstrated 
her  dramatic  talents  in  past  pictures, 
as  in  Edna  Ferber's  "So  Big,"  made 
several  years  ago.  The  point,  with  its 
qualities,  we  have  described;  the  long 
septum,  or  nose  bone,  means  the  posses- 
sion of  inspiration  and  intuition,  a 
quality  that  would  lift  mere  mimicry  to 
the  level  of  an  art.  No  great  actress 
can  be  without  this  quality,  no  matter 
how  great  her  gift  of  mimicry,  memory 
or  personal  charm. 

Where  the  tip  of  the  nose  is  level 
with  the  bottom  of  the  nostril  where  it 


joins  the  face,  you  will  find  maturity, 
a  sane  outlook  on  the  facts  of  life  as 
they  are,  and  in  exaggerated  cases  this 
comes  to  mean  pessimism.  This  is  a 
change  that  time  brings  to  the  mod- 
erately upturned  nose  tip.  Dr.  Josef 
Ginsburg,  plastic  surgeon  of  Holly- 
wood, says  that  when  he  is  restoring 
youthfulness  to  the  face  surgically,  he 
often  removes  a  bit  of  the  cartilage 
from  the  tip  of  the  nose,  as  a  shorter 
nose  tip  is  so  much  more  youthful. 

COMING  to  the  second  type  of  re- 
trousse, the  short  nose  with  the 
blunt  upturned  tip,  we  find  in  this 
group  Marie  Prevost,  Phyllis  Haver, 
Mabel  Normand  and  Anita  Page. 

The  third  type,  the  between  type, 
not  very  long  and  not  very  short, 
with  broad  upturned  tip,  the  type 
best  represented  by  Dolores  Cos- 
tello  and  Irene  Rich,  has  all  the 
gifts  of  retrousse,  but  with  slight 
modifications.  This  type  is  not  so  pos- 
sessed of  inspiration  as  its  longer- 
nosed  sisters.  Possessed  of  large  mem- 
ories, their  reasoning  is  not  a  control- 
ling feature,  though  they  are  canny. 
Phrenologists  describe  this  type  as 
more  inclined  to  self-advancement  than 
self -improvement. 

To  sum  things  up,  the  retrousse  is 
the  typical  actress's  nose.  Perhaps 
your  favorite  is  in  the  following  list  of 
Hollywood  stars  who  possess  the  re- 
trousse: Gloria  Swanson,  Jetta  Goudal, 
Lillian  Gish,  Pauline  Frederick,  Renee 
Adoree,  Laura  LaPlante,  Louise  Dres- 
ser, Barbara  LaMarr,  Dolores  Costello, 
Joan  Crawford,  Lupe  Velez,  Vivian 
Duncan,  Ruth  Chatterton,  Dolores  Del 
Rio,  Gwen  Lee,  Betty  Bronson,  Fay 
Wray,  Marguerite  Churchill,  Anita 
Page,  Olive  Borden,  Betty  Compson, 
Clara  Bow,  Colleen  Moore,  Nancy  Car- 
roll, Lucille  Webster  Gleason,  Eleanor 
Boardman,  Madge  Bellamy,  Catherine 
Dale  Owen,  Anna  Q.  Nilsson,  Marie 
Prevost,  Norma  Shearer,  Pola  Negri, 
Mae  Murray,  Lila  Lee,  Kay  Francis, 
Zelma  O'Neil  and  Camilla  Horn. 

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The  New  Movie  Magazine 

ON  SALE  THE  I5TH  OF  EACH  MONTH  IN  WOOLWORTH  STORES 

One  of  the  Tower  Group  of  Magazines 

Hugh  Weir — Editorial  Director 

Vol.  II,  No,  3  Features  September,  1930 

Cover   Painting   of  Gloria   Swanson   by  Penrhyn    Stanlaws 

The    Home    Town    Stories    of   Amos    'n'    Andy 

Amos    F.  J.  McDermott  24 

Andy     Robert   R.    Goldenstein  25 

Where   Is   Anna   Q.? Adela  Rogers  St.  Johns  26 

For  three  years  Miss  Kilsson  has  fought  the  brave  I  attic  for  health. 

By  Popular  Request Dick   Hyland     29 

Buddy  Rogers'  mother  is  interviewed  about  her  son's  ideal  girl. 

Herb  Howe's  Outline  of    Hollywood   History Herb   Howe     32 

Tracing  the  glamorous  career  of  the  world's  most  famous  town. 

Me — Doug,    Junior Dick  Hyland     38 

Young  Mr.  Fairbanks  wants  to  stand  upon  his  own. 

Gay  Grandmothers Dorothy  Herzog     40 

Three  who  played  a  vital  part  in  bringing  success  to  their  grandchildren. 

Adventures    in    Interviewing Jim   Tully     43 

The  famous  writer  tells  about  his  encounter  witli  Jack  Gilbert. 

How  to   Have  Your  Photograph   Made Russell  Ball    68 

One  of  Flollywood's  best  photographers  tells  you  the  secrets  of  the  stars. 

The  Drama  of  Lila  Lee Evelyn   Gray     78 

Act  III  in  the  absorbing  life  story  of  this  popular  actress. 

Visits  to  the  Great  Studios 86 

A  personally  conducted  tour  of  the  Warner  Brothers'  Studios. 

The  Stars  Go  Into  Business J.  Eugene  Chrisman     90 

Today's  movie  idols  save  their  money  and  invest  it  with  care. 

Fiction 
Mighty  Lak'  a  Pose Stewart  Robertson     44 

Another  brilliantly  amusing  short  story  of  Hollywood  life. 

Departments 
The  Hollywood  Boulevardier Herb  Howe    54 

Mr.  Howe's  flashing  comments  upon  film  people  and  events. 

Reviews   of  the   New  Films Frederick   James   Smith     83 

Concise  and  accurate  comments  upon  the  important  new  photoplays. 

First   Aids    to    Beauty Ann  Boyd  102 

Advice  and  rules  for  charm  and  attractiveness. 

AND:  Music  of  the  Sound  Screen,  6;  Where  to  Write  the  Movie  Stars,  8; 
Gossip  of  the  Studios,  19;  How  Hollywood  Entertains,  74;  Guide  to  the  Best 
Films,  94;  What  the  Stars  Are  Doing,  101. 

Frederick  James  Smith — Managing  Editor 
Dick    Hyland — Western    Editorial    Representative 

Published  monthly  by  Tower  Magazines,  Incorporated.  Office  of  publication  at  1 84-1 0  Jamaica  Ave.,  Jamaica,  N.  Y.  Executive 
and  editorial  offices:  55  Fifth  Avenue,  New  York.  N.  Y.  Home  office:  22  North  Franklin  Street,  Wilkes-Barre,  Pa.  Hugh  Weir, 
Editorial  Director;  Catherine  McNelis,  President;  Theodore  Alexander.  Treasurer;  Marie  L.  Featherstone,  Secretary.  Vol.  2,  Number  3, 
September,  1930,  printed  in  the  U.  S.  A.  Price  in  the  United  States  $1.20  a  "year,  10c  a  copy.  Price  in  Canada  $1.80  a  year,  15c  a  copy. 
Copyright  1930  (trademark  registered),  by  Tower  Magazines,  Incorporated,  in  the  United  States  and  Canada.  Entered  at  the 
Post  Office  at  Jamaica,  N.  Y.,  as  second-class  matter  under  the  Act  of  March  3,  1879.  Nothing  that  appears  in  THE  NEW  MOVIE 
MAGAZINE  may  be  reprinted,  either  wholly  or  in  part,  without  permission.  The  publisher  accepts  no  responsibility  for  return  of 
unsolicited   manuscripts. 

Applicant  for  Membership  in  the  Audit  Bureau   of  Circulations 


The   New  Movie   Magazine 


50((  quality 

TERINE 

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THERE  is  sweetness, 
delicacy,  and  breed- 
ing in  this  face.  And 
rightly  so,  for  hers  is  a 
family  of  splendid  tradi- 
tions. 

Its  men  were  always 
men  of  courage  and 
gallantry.  Old  New 
Orleans  and  Louisville, 
Virginia  and  Kentucky,  knew  them  well 
and  honored  them.  Their  names  are 
written  brilliantly  in  the  history  of  their 
times.  Its  women  were  always  fair,  al- 
ways aristocratic — ladies  every  one.  In 
the  winsome,  lavender-and-old-lace 
annals  of  the  South,  their  romances  and 
their  lives  form  a  lovely  chapter. 

Surely  if  any  young  woman  inherited 
the  right  to  be  called  a  lady,  it  was  Lila 
.  .  .  the  sixth  Lila  .  .  .  with  her  breeding 
and  her  charm  silhouetted  against_  the 
rudeness  that  is  1930. 

And  yet  .  .  .  and  yet — her  friends 
avoided  her,  and  behind  her  back  people 
whispered  the  damning  truth.     Too  bad 


Portrait  of  a  L 

{not  quite) 


she  couldn't  have  overheard.  Halitosis 
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selves of  having — but  it  ought  to  be  the 
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For  halitosis  is  a  definite  daily  threat 
to  all.  And  for  very  obvious  reasons, 
physicians  explain.  So  slight  a  matter 
as  a  decaying  tooth  may  cause  it.  Or 
an  abnormal  condition  of  the  gums.  Or 
fermenting  food  particles  skipped  by 
the  tooth  brush.  Or  minor  nose  and 
throat  infections.  Or  excesses  o'f  eat- 
ing, drinking  and  smoking. 


1  Intelligent   people  rec- 

C\  f~\  T  T  ognize  the  risk  and  mini- 

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times     before     meeting 

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deodorant,  capable  of  overcoming  even 
the  scent  of  onion  and  fish. 

Keep  Listerine  handy  in  home  and  office. 
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you  on  your  vacation.  It  is  better  to  be 
safe  than  snubbed.  Lambert  Pharmacal 
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*FulI  strength  Listerine  is  so  safe  it  may  be 
used  in  any  body  cavity,  yet  so  powerful  it  kills 
even  the  stubborn  B.  Typhosus  (typhoid)  and 
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200,000,000  in  15  seconds.  (Fastest  time  science 
has   accurately   recorded.) 


10<*  size  Listerine  on  sale  at  all  Woolworth  stores 


MUSIC  of  the  Sound  Screen 

The  New  Movie's  Service  Department,  Reviewing  the 
Newest    Phonograph    Records   of    Film    Musical    Hits 


SWING  HIGH,"  "The 
King  of  Jazz,"  "The 
Big  Pond"  and 
"Way  Out  West" 
are  the  motion  pictures 
getting  the  biggest  play 
from  the  manufacturers  of 
phonograph  records  this 
month. 

"With  My  Guitar  and 
You,"  the  song  hit  of 
Pathe's  "Swing  High," 
leads  the  month  in  number 
of  renditions.     One  of  the 

best  versions  was  made  for  Victor  by  Don  Azpiazu  and 
his  Havana  Casino  Orchestra.  On  the  reverse  side  of 
this  excellent  rendition  is  the  fox  trot,  "Be  Careful  with 
Those  Eyes." 

Another  excellent  adaptation  of  "With  My  Guitar  and 
You"  was  made  by  the  tenor,  Lewis  James,  for  Victor. 
On  the  other  side  of  this  sure-to-be-popular  record  is 
the  song  hit  of  Metro-Goldwyn's  "Way  Out  West," 
called  "Singing  a  Song  to  the  Stars." 

Columbia  has  an  appealing  version  of  "With  My 
Guitar  and  You,"  played  by  Ben  Selvin  and  his  orches- 
tra. This  record  also  carries  the  popular  number, 
"Around  the  Corner." 


ONE  of  the  best  of  the  new 
records  was  made  for  Vic- 
tor by  Nat  Shilkret  and  the 
Victor  Orchestra.  This  presents 
fine  dance  versions  of  presenta- 
tions of  "Ragamuffin  Romeo," 
from  "The  King  of  Jazz,"  and 
"Singing  a  Song  to  the  Stars," 
from  "Way  Out  West." 

If  you  like  the  boop-a-doop 
girl,  Helen  Kane,  you  will  want 
hor  newest  record,  presenting 
the  two  best  numbers  from  her 
latest  Paramount  film,  "Danger- 
ous Nan  McGrew."  These  offer 
the  song  of  that  title  and  "I 
Love  You." 

Two  new  Rudy  Vallee  records 
for  Victor  offer  Rudy's  radio  hit 
song,  "Kitty  from  Kansas  City," 
and  "If  I  Had  a  Girl  Like  You." 
The  other  new  Vallee  record 
presents  the  blue  fox  trot,  "How 
Come  You  Do  Me  Like  You  Do?" 
and  the  popular  waltz,  "Old  New 
England  Moon."  None  of  these 
is  a  talking  screen  number. 

THERE  is  a  new  Ethel  Wal- 
ters record  just  issued  by  Co- 
lumbia. This  presents  "My 
Kind  of  Man,"  from  Metro-Gold- 
wyn's "The  Florodora  Girl,"  and 
"You  Brought  a  New  Kind  of 
Love  to  Me,"  from  Paramount's 
"The  Big  Pond." 

Columbia  has  a  new  Paul 
Whiteman  record  which  carries 
"Sittin'  on  a  Rainbow,"  from 
Columbia's  new  film,  "Call  of 
the  West,"  and  the  current  hit, 


RECOMMENDED   RECORDS 
'With  My  Guitar  and  You" 

Havana  Casino  Orchestra  (Victor) 
'Mia  Cara" 

Leo  Reisman  Orchestra  (Victor) 
'Dangerous  Nan  McGrew" 

Helen  Kane  (Victor) 


"Old  New  England  Moon." 
For  Columbia,  too,  Eddie 
Walters  sings  "Girl  Trou- 
ble," from  Metro-Goldwyn's 
"Children  of  Pleasure," 
and  "A  Bench  in  the 
Park,"  from  Universal's 
"King  of  Jazz."  This  is 
an  attractive  novelty  song 
record. 

The  High  Hatters,  con- 
ducted by  Leonard  Joy. 
have  two  lively  new  Victor 
records.  One  introduces 
"You  for  Me,"  from  Tiffany's  "Sunny  Skies,"  and  "If 
You're  Not  Kissing  Me,"  from  Metro-Goldwyn's  "Good 
News."  The  other  offers  "My  Future  Just  Passed." 
Buddy  Rogers'  song  hit  from  Paramount's  "Safety  in 
Numbers."  The  reverse  of  this  record  presents  the  fox 
trot,  "Get  Happy,"  played  by  Nat  Shilkret  and  his 
orchestra. 

"T'M  in  the  Market  for  You,"  the  song  hit  of  Fox's 
A  "High  Society  Blues,"  has  been  highly  popular  with 
record  makers.     Johnny  Marvin,  the  comedian,  offers  a 
new  and  attractive  version.     On  the  opposite  side  of 
this  record  is  the  current  senti- 
mental hit,  "Dancing  with  Tears 
in  My  Eyes." 

You  will  like  Loo  Reisman's 
playing  of  "Mia  Cara,"  from 
Paramount's  "The  Big  Parade." 
The  reverse  of  this  Victor  rec- 
ord carries  "Rollin'  Down  the 
River." 

Columbia  has  a  new  record  by 
Lee  Morse  and  her  Blue  Grass 
Boys.  This  introduces  "Seems 
to  Me,"  from  Paramount's 
"Queen  High,"  and  "Swingin' 
in  a  Hammock." 

Some  of  the  best  Columbia 
records  present  the  Ipana  Trou- 
badours. Their  newest  record 
offers  "Sing,"  or  "A  Happv 
Little  Thing,"  from  Metro-Gold- 
wyn's "Forward  March,"  along 
with  the  fox  trot,  "Promises." 

\TEW  MOVIE  has  received  so 
-^  many  inquiries  about  movie 
stars  who  have  made  records 
that  answer  is  made  here :  Mau- 
rice Chevalier,  John  Boles,  Jean- 
ette  MacDonald,  Dennis  King, 
Lawrence  Tibbett  and,  of  course, 
John  McCormack  are  obtainable 
in  Victor  records. 

Buddy  Rogers  has  made  rec- 
ords for  Columbia. 

Drop  around  to  the  nearest 
music  store  and  look  them  over. 

Two  of  the  numbers  of  In  Gay 
Madrid,"  Ramon  Novarro's 
latest  starring  vehicle,  are 
highly  popularwith  the  record 
makers.  These  are  "Into  My 
Heart"  and  "Santiago." 


The   New   Movie   Magazine 


ALL  RIGHT.  I'LL  TAKE 

THIS  WASHER.  SEND 

IT  AT  ONCE  PLEASE 


NOW  BE  SURE  TO  USE 

THE  SOAP  I  TOLD  YOU 

ABOUT  MRS.  ALLEN 


TN 


NEXT  WASHDAY 


MY  WASHER  IS  THE 
SAME  AS  YOURS. 
MRS.  ALLEN.     IT'S 

GREAT  BUT  I   DON'T 
GET  MY  WASH  AS 
WHITE  AS  YOU  DO 


( 

JUST  TRY  RINSO. 

THE  WASHER- 

SALESMAN  SAID 

IT  IS  THE  BEST 

SOAP.  AND  IT  IS! 

\                                            / 

;"\  g 


-   -    """**"       ^4 


LATER 


_32l. 


THESE  SHIRTS 

LOOK  GREAT  DEAR. 

JUST  LIKE  NEW! 


THAT'S  BECAUSE  THEY 

WERE  WASHED  WITH 

RINSO.   MRS.  ALLEN 

TOLD  ME  ABOUT  IT 


ko 


TbT  makers  of  these 

Prima 


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Apex 
Automatic 

Barton 
Bee-vac 


Dexter 
Eden 
Bdenette 
Faultless 

Gainaday 

Haag 


Bee-vac         n..een  Hotton 

Big  3  Speed  Q«en  dryette 

Blackstone  22  Uundiy  Queen 

Boss  Meadows 

Comeld  Select-a-Speed 

Conlon  Meadow  Larit 

Crystal  Qne  Minute 
Decker 


Prima 
Rotarex 
Roto  Verso 
Safety 

Sunnysuds 

Triplex 

Universal 

Voss 
NXfashrite 
Whirldty  , 

^900  Whirlpool 
^oodrow 
Zenith 


saves  scrubbing 
In  tubs,  too— »*  bar  soaps, 

Rinso  is  all  y        fteners.  A  l»«le  g 

chips  powder      ^^  ^ate  ^ 

ing  suds— ev  loosen  dirt.  <-'  eat  tor 

WtbesesojVSudSbb.ng  ^  bmUng. 

ing  white   vnth         biG  package.                                       Mass 
dishes,  too.  Get  eveI  Brothers  Co^Cam 

j  hv  the  rovers  of  ^^^ 


SAFE  for  your  finest 

cottons  and  linens 

Millions   use   Rinso 

for   whiter  washes 

in   tub  or  machine 

'SIZES 


most  women  buy 
the  large  package 


Millions  use  Rinso 
for  dishes/  floors 
and  all   cleaning 


WHERE  to  WRITE  the  MOVIE  STARS 

When  you  want  to  write  the  stars  or  players,  address  your  com- 
munications to  the  studios  as  indicated.      If  you  are  writing  for  a 
photograph,  be  sure  to  enclose  twenty-five  cents  in  stamps  or  silver. 
If  you  send  silver,  wrap  the  coify  carefully. 

At  Metro-Goldwyn-Mayer  Studios,  Culver  City, 
Calif. 


Renee  Adoree 
George  K.  Arthur 
Nils  Asther 
Lionel  Barrymore 
Lionel  Belmore 
Wallace  Beery 
Charles  Bickford 
John  Mack  Brown 
Lon  Chaney 
Joan  Crawford' 
Karl  Dane 
Marion  Davies 
Duncan  Sisters 
Marie  Dressier 
Josephine  Dunn 
Greta  Garbo 
John  Gilbert 
Gavin  Gordon 
Raymond  Hackett 
William  Haines 
Leila  Hyams 


Dorothy  Janis 
Dorothy  Jordan 
Kay  Johnson 
Buster  Keaton 
Charles  King 
Cwen  Lee 
Barbara  Leonard 
Bessie  Love 
Robert  Montgomery 
Polly  Moran 
Conrad  Nagel     -. 
Ramon  Novarro 
Edward  Nugent      ."> 
Catherine  Dale  Owen 
Anita  Page 
Lucille  Powers 
Aileen  Pringle 
Dorothy  Sebastian 
Norma  Shearer 
Lewis  Stone 
Ernest  Torrence 
Raquel  Torres 


At   Paramount-Famous-Lasky   Studios, 
Hollywood,  Calif. 

Richard  Arlen 


Jean  Arthur 
William  Austin 
George  Bancroft 
Clara  Bow 
Mary  Brian 
Clive  Brook 
Virginia  Bruce 
Jack  Buchanan 
Nancy  Carroll 
Lane   Chandler 
Ruth  Chatterton 
Maurice  Chevalier 
June  Collyer 
Chester  Conklin 
Jackie  Coogan 
Claudette  Colbert 
Gapy  Cooper 
Marlene  Dietrich 
Kay  Francis 
Harry  Green 
Mitzi  Green 
James  Hall 


Neil  Hamilton  . 
0.  P,  Heggie 
Doris  Hill 
Phillips  Holmes 
Jack  Luden 
Paul  Lukas 
Jeanette  MacDonald 
Fredric  March 
Rosita  Moreno 
David  Newell 
Barry  Norton 
Jack  Oakie 
Warner  Oland 
Guy  Oliver 
Zelma  O'Neal 
Eugene  Pallette 
Joan  Peers 
William  Powell 
Charles  Rogers 
Lillian  Roth 
Regis  Toomey 
Florence  Vidor 
Fay  Wray 


Universal  Studios,  Universal  City,  Calif. 

Beth  Laemmle 
Arthur  Lake 
Laura  La  Plante 


Lewis  Ayres 
John  Boles 
Ethlyn  Claire 
Kathryn  Crawford 
Reginald  Denny 
Jack  Dougherty 
Lorayne  DuVal 
Hoot  Gibson 
Dorothy  Gulliver 
Otis  Harlan 
Raymond  Keane 
Merna  Kennedy 
Barbara  Kent 

Samuel   Goldwyn,  7210 
Hollywood,  Calif. 

Vilma  Banky 
Walter  Byron 

8 


George  Lewis 
Jeanette  Loff 
Ken  Maynard 
Mary  Nolan 
Mary  Philbin 
Eddie  Phillips 
Joseph  Schildkraut 
Glenn  Tryon 
Barbara  Worth 


Santa   Monica  Blvd., 


At  Fox  St\idios,  1401  No.  Western  Avenue, 

Hollywood,  Calif. 

Janet  Gaynor 

F/:ank  Alberstoh 

Luana  Alcaniz 

Ivan  Linow 

Mary  Astor 

Edmund  Lowe 

Ben  Bard 

Claire  Luce 

Warner  Baxter 

Sharon  Lynn 

Marjorie  Beebe 

Kenneth  MacKenna 

Rex  Bell, 

Farrell  MacDonald 

Humphrey  Bogart 

Mona  Maris 

El  BrendeP" --..." 

Victor  McLaglen 

Dorothy  Burgess- 

Lois  Moran 

Sue  Carol 

Charles  Morton 

Sammy  Cohen 

Paul  Muni 

Marguerite  Churchill 

George  O'Brien 

Joyce  Compton 

Maureen  O'Sullivan 

Fin  Dorsay 

Paul  Page 

Louise   Dresser 

David  Rollins 

Charles  Eaton 

Milton  Sills 

Charles  Farrell 

Arthur  Stone 

Earle  Foxe 

Nick  Stuart 

John  Garrick 

Marjorie  White 

At  Warner  Brothers 

Studios,  5842  Sunset  I 

Hollywood,  Calif. 

Armida 

Winnie  Lightner 

John  Barrymore 

Lbtti  Loder 

Betty  Bronson 

Myrna  Loy 

Joe  Brown 

Ben  Lyon 

William  Collier,  Jr. 

May  McAvoy 

Dolores  Costello 

Edna  Murphy 

Claudia  Dell 

Marion  Nixon 

Louise  Fazenda 

Lois  Wilson 

Lila  Lee 

Grant  Withers 

Pathe  Studios,  Culver  City,  Calif. 

Robert  Armstrong  Ann  Harding 

Constance  Bennett  Eddie  Quillan 

William  Boyd  Fred  Scott 

James  Gleason  Helen  Twelvetrees. 

First  National  Studios,  Burbank,  Calif. 


Doris  Kenyon 
Dorothy  Mackaill 
Colleen  Moore 
Jack  Mulhall 
Vivienne  Segal 
Thelma  Todd 
Loretta  Young 


Richard  Barthelmess 
Bernice  Claire 
Doris  Dawson 
Billie  Dove 

Douglas  Fairbanks,  Jr. 
Alexander  Gray 
Corinne  Griffith 
Lloyd  Hughes 

United  Artists  Studios,  1041  No.  Formosa 
Avenue,  Hollywood,  Calif. 
Don  Alvarado  Mary  Pickford 

Fannie  Brice  Gloria  Swanson 

Dolores  del  Rio  Norma  Talmadge 

Douglas  Fairbanks  Constance  Talmadge 

Al  Jolson  Lupe  Velez 

Columbia   Studios,   1438   Gower   Street, 
Hollywood,    Calif. 


Evelyn  Brent 
William  Collier,  Jr 
Ralph  Graves 
Jack  Holt 


Ronald  Colman 
Lilv  Damita 


RKO 

Calif. 

Buzz  Barton 
Sally  Blane 
Olive  Borden 
Betty  Compson 
Bebe  Daniels 


Margaret  Livingston 
Jacqueline  Logan 
Shirley  Mason 
Dorothy  Revier 
Alice  White 
Studios,    780    Gower    Street,    Hollywood, 


Frankie  Darro 
Richard  Dix 
Bob  Steele 
Tom  Tyler 


The  New  Movie  Magazine 


At  Last  The  Great  Broadway  Hit 
Comes  To   The   Talking  Scree 


with 
Bessie  LOVE 
MaryLAWLOR 
Stanley  SMITH 


t^*    £k 


A  greater*  more  complete,  more 
istic  production  of  this  sensational 
musical  comedy  than  was  possible  on 
the  stage.  "GOOD  3STE  WS"  brings  you 
the  soul  of  college  life — its  swift  rhythm, 
its  pulsing  youth,  its  songs,  its  pep,  its  loves,  its 
laughter — crowded  into  one  never-to-be-forgot- 
ten picture.  A  cocktail  of  hilarious,  riotous 
entertainment! 

What  a  cast!  Bessie  Love,  of  "BROADWAY 
MELODY"  fame;  Gus  Shy,  who  starred  in  the 
Schwab  &M  and  el  Broad  way  presentation; 


beautiful  Mary  Lawlor,  also 
one  of  the  original  cast;  Cliff 
Edwards  with  his  magic  uku- 
lele; Stanley  Smith,  Lola  Lane, 
iDorothy  McNulty  and  a  cam* 
pus-full  of  cute  co-eds  and  capering  collegiates. 

Marvelous  music  by  De  Syiva,  Brown  &: 
Henderson.  "The  Best  Things  in  Life  ate  Free**, 
"The  Varsity  Drag**  and  others.  Mirth!  Melody! 
Speed!   That's  "GOOD  NEWS"! 

Scenario  by  Frances  Marion—Dialogue  by  Joe  Farnham 
Directed  by  Edgar  ].  MacGregor  and  Nick  Grinde 


METRO-GO! ;%K¥N-MAYER 


LfST  STARO 


"More  Stars  Than  There  Are  in  Heaven' 


The  New  Movie  Magazine 


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10 


LEILA  HYAMS 

Photograph  by  Hurrcll 

Gallery 

■■ 

of 

Famous 

Film   Folk 

The 

New  Movie 

Magazine 


11 


NANCY  CARROLL 


12 


WALTER  PIDGEON 


Photograph  by  Elmer  Fryer 


13 


JEANETTE  MAC  DONALD 


14 


NEIL  HAMILTON 


Photograph  by  Elmer  Fryer 


15 


Photograph  by  Richee 


KAY  FRANCIS 


16 


CUVE  BROOK 


Photograph  by  Richee 


17 


JACKIE  COOGAN 


18 


The  New  Movie  Magazine 


VOL  il 


SEPTEMBER,  1930 


No.  3 


Gossip  of  the  Studios 


p 


KE-NUPTIAL  affairs  and  wedding  festivities 
have  dominated  Hollywood  society  for  the  past 
few  months.  Entertaining  for  Bebe  Daniels  and 
Ben  Lyon  just  before  their  wedding  kept  every- 
one busy  and  immediately 
after  that  began  a  round 
of  showers  and  parties  for 
Sally  Eilers  and  Hoot 
Gibson. 

The  party  that  will 
be  long  remembered  by 
everyone  was  the  "bach- 
elor dinner"  given  for 
Bebe  by  Mae  Sunday,  one 
of  her  bridesmaids  and 
her  closest  friends.  On 
the  same  evening  that 
Wallace  Davis  and  a 
group  gave  the  tradi- 
tional men's  dinner  for 
Ben  Lyon,  all  the  girls 
gathered  at  Mae  Sunday's 
house  and  enjoyed  a  cat 
party  for  Bebe. 


Sally  Eilers:  She's  Hollywood's 
newest  bride,  having  married 
Hoot  Gibson.  She  gave  him  a 
star  sapphire  as  wedding  gift. 


Charles  Farrell:   They're  hav- 
ing trouble  finding  him  a  new 
co-star.     Meanwhile,  he  is  a 
Malibu  Beach  newcomer. 


The  house  was  gorgeous  with  masses  of  pink  gladiolas 
and  dahlias,  with  a  full-length  spray  of  pink  roses  on 
the  table  for  the  bridal  party,  About  fifty  girls  at- 
tended and  gave  Bebe  a  very  gay  evening,  including  a 
lot  of  amusing  gifts  and  some  literary  efforts  supposed 
to  be  helpful  to  a  young  bride. 

The  hostess,  Mae  Sunday,  wore  black  lace,  and  the 
guest  of  honor  was  in  trailing  all-over  lace  of  beige 
color.  Among  the  guests  were  Norma  Talmadge,  in 
black  chiffon;  Constance  Talmadge,  wearing  yellow; 
Mrs.  Peg  Talmadge  and  Natalie  Talmadge  Keaton. 
Lila  Lee  was  there,  also  in  black.  Betty  Compson 
drove  down  from  "The  Spoilers" 
location.  Mrs.  George  Fitz- 
mauriee  wore  the  most  beautiful 
print  chiffon,  pale  yellow  and 
gray  in  color.  Louella  Parsons 
was  attired  in  black  lace.  Sally 
Eilers  came  in  a  soft  pink  print 
chiffon.  Others  ■  present  were ; 
Carmel  Myers,  Olive  Tell,  Mrs. 
Hugh  Murray  and  her  daughter 
Anita,  Eileen  Percy,  Mrs. 
AArilliam  K.  Howard,  Vivienne 
Segal,  Carmen  Pantages,  and 
Colleen  Moore. 


During  the  evening  Miss 
Daniels  presented  each  of  her 
bridesmaids  with  a,  large  doll, 
dressed  exactly  as  the  brides- 
maids themselves  were  to  be 
dressed  at  the  wedding. 


TN  honor  of  Sally  Eilers,  whose  wedding  to  Hoot 
Gibson  took  place  June  27,  Carmen  Pantages,  who 
acted  as  maid  of  honor,  gave  a  miscellaneous  shower 
and  supper  party  at  the  Assistance  League  Tea  Room. 
The  room  was  charmingly 
decorated,  and  about 
thirty  girls  attended. 
Among  them  Marian 
Nixon,  Jeanette  Loff, 
Bebe  Daniels,  Mae  Sun- 
day, Mrs.  Reginald 
Denny,  Mrs.  Morton 
Downey  (Barbara  Ben- 
nett), Eileen  Percy,  Marie 
Prevost  and  Mrs.  Phyllis 
Daniels. 

Another  party  honor- 
ing Sally  was  given  by 
Mr.  and  Mrs.  Charles 
Mack  in  their  beautiful 
new  home  in  the  Cali- 
forniafoothills.  The  guests 
included  Mr.  and  Mrs. 
Buster  Keaton,  William 
S.  Hart,  Buster  Collier,  Marie  Prevost,  and  of  course 
Edward  Pearson  Gibson  (better  known  as  Hoot).  By 
the  way,  nobody  in  Hollywood  ever  knew  Hoot's  real 
name  until  the  wedding  invitations  were  issued. 

Buster  Collier  gave  Hoot  his  bachelor  dinner,  in  the 
big  banquet  room  of  the  Roosevelt  Hotel.  Buster  was 
best  man.  William  Collier,  Sr.,  one  of  the  most  famous 
wits  of  Broadway,  served  as  toastmaster.  Fifty  of 
Hoot's  best  friends  gathered  to  celebrate  his  last  eve- 
ning as  a  bachelor.  The  gathering  presented  Hoot  with 
a  big  silver  elephant's  foot,  which  held  cocktail  glasses 
and  shaker  also  in  silver. 

Beside  Buster  and  Hoot, 
those  who  gathered  about  the 
banquet  board  were  William 
Boyd,  "Skeets"  Gallagher,  Lew 
Cody,  Jack  Pickford,  Norman 
Kerry,  James  Kirkwood,  Dick 
Hyland,  Buster  Keaton,  Ben 
Lyon,  Dr.  Harry  Martin,  Louis 
Wolheim,  Monte  Blue,  Mervyn 
LeRoy,  Roscoe  Arbuckle,  Wil- 
liam Haines,  James  Shields, 
Lloyd  Pantages,  Wesley  Ruggles 
and  others. 


Before  Hoofs  place  was  a 
large  woolly  sheep — the  prize  in- 
sult to  a  cowman.  Mr.  Collier 
read  telegrams  from  a  number  of 
celebrities  and  everyone  got  a 
chance,  to  make  a  speech — or,  at 
h  <ist.  to  attempt  one. 

19 


All  the  News  of  the  Famous  Motion  Picture 


Renee   Adoree:     Slowly    re- 
covering from  her  long  illness, 
is  back  home  again. 


CALLY  EILERS  gave 
Hoot  Gibson  a  perfect 
star  sapphire  ring  for  a 
wedding  present.  Hoot 
wears  it  on  the  little 
finger  of  his  right  hand. 


CALLY     certainly     had 
some  tough  luck  with 
her  bridesmaids.    Having 
selected  Carmen  Pantages 
as    maid    of    honor,    and 
Mae  Sunday,  Marie  Pre- 
vost,    Jeanette    Loff    and 
Marian    Nixon    as    atten- 
dants, she  thought  she  was 
all  set.    A  week  before  the 
wedding,  when  the  gowns 
were  all  completed,   Jeanette  Loff  was  taken  ill  and 
rushed  to  the  hospital  for  an  operation. 

Sally  asked  Mrs.  Reginald  Denny  to  take  her  place. 
Mrs.  Denny  said  she  would.  Three  days  before  the 
Avedding,  Mrs.  Denny  also  had  appendicitis  and  was 
operated  on  within  two  hours.  Much  as  everyone  loves 
Sally  no  one  wanted  to  be  the  third,  so  she  decided  to 
diave  only  three  bridesmaids. 

Then  Marie  Prevost  got  a  positive  order  to  work  that 
night  at  San  Pedro.  Marie  begged  but  they  were 
adamant.  Finally  Al  Christie  agreed  to  wait  until 
eleven  o'clock.  So  Buster  Collier  arranged  a  motoi'- 
cycle  escort  for  Marie  from  Hoot's  ranch  at  Saugus. 
Miss  Prevost  traveled  some  sixty  miles  to  San  Pedro 
and  got  there  by  eleven  o'clock. 


V|R.  AND  MRS.  BEN  LYON  have  returned  from 
their  honeymoon  and  settled  in  Ben's  apartment, 
until  they  can  build  a  new  home  on  a  beautiful  site  Ben 
owns  in  the  Hollywood  foothills.  Mrs.  Lyon  (who  is 
Bebe  Daniels)  is  doing  her  own  housekeeping.  She 
even  went  out  the  other  day  and  bought  all  her  own 
groceries.  The  only  thing  she  forgot  to  get  was  a  can 
opener.  Maybe  someone  will  give  her  one  as  a  belated 
wedding  present. 

The  wedding  gifts  these  two  popular  stars  received 
would  equal  those  presented  to  royalty  on  similar  oc- 
casions. Marion  Davies  sent  the  bride  a  diamond  neck- 
lace, from  which  hung  a  watch  set  in  an  enormous, 
carved  Indian  emerald. 
A  dozen  solid  gold  coffee 
spoons,  which  looked  as 
though  they  might  have 
been  carved  by  Cellini, 
were  sent  by  Mr.  and 
Mrs.  Harry  Tierney.  (Mr. 
Tierney  wrote  the  music 
of  "Rio  Rita.")  Mr.  and 
Mrs.  Townsend  Netcher 
(Constance  Talmadge) 
presented  the  newlyweds 
with  a  carved  crystal  bot- 
tle, centuries  old,  and  of 
wonderful  workmanship. 
A  banquet  cloth  of  price- 
less Italian  lace  from 
Venice  was  the  gift  of 
Norma  Talmadge.  The 
aero  squadron  to  which 
Ben  Lyon  belongs  sent  a 


beautiful  and  unique  gift — an  aeroplane  propeller,  into 
which  a  wonderful  clock  had  been  set.  Full  sets  of 
wonderful  silver  for  every  occasion,  a  carved  jewel  box, 
with  interior  compartments  in  silver,  an  exquisite  din- 
ner service  of  Royal  Crown  Derby,  were  also  included 
in  the  gifts. 


A  LICE  WHITE  is  making  a  picture  for  Columbia. 
It  seems  that  First  National  didn't  renew  her 
contract.  The  talkies  haven't  been  kind  to  Alice.  It 
takes  too  long  to  shoot  talkie  scenes  with  her.  And 
First  National  was  having  trouble  finding  vehicles 
which  will  allow  Alice  to  wear  teddies. 


npHERE  are  150,000  things  you  cannot  do  in  Holly- 
wood. Among  them :  Aliens  cannot  use  for  any 
purpose  city  park  golf  or  tennis  courts  without  permits. 
Which  makes  it  tough  on  people  like  Ramon  Novarro, 
Greta  Garbo,  Maurice  Chevalier,  and  a  flock  of  others. 
But  can  you  see  a  cop  walking  up  to  Garbo  and  saying 
"You  are  a  bad  girl ;  you  can't  play  here,"  if  she  should 
happen  to  tread  on  a  city  tennis  court  ? 


In  the  movie,  "Jenny  Lind,"  Grace  Moore  sings  in 
English,  French,  Spanish,  Italian  and  German. 


pLAUDETTE  COLBERT  isn't  going  to  be  gone  six 
months  on  her  ocean  trip,  after  all.  The  studio  has 
insisted  that  she  return  to  play  with  George  Bancroft. 
Miss  Colbert  ought  to  be  very  popular  as  soon  as  the 
fans  get  to  know  her.  She's  beautiful  and  a  real 
trouper. 

/""■LARA  BOWS  next  picture  will  have  its  locale  in  a 
college  town  and  the  heroes  will  be  football  players. 
The  script,  written  by  an  Eastern  college  man,  named 
the  two  leading  players  as  Red  Grange  and  Dick 
Hyland.  They'll  change  those,  however.  At  that,  Red 
might  be  very  good  in  the  part — though  as  named  he 
was  the  heavy.  And  New  Movie  might  loan  Dick 
Hyland  for  the  film. 


Since  she  started  fifteen  years  ago  as  a  thirteen-year- 
old  girl,  Bebe  Daniels  has 
made  288  pictures.  When 
she  was  with  Harold 
Lloyd  they  used  to  grind 
out  one  short  comedy  a 
week. 


'"PHE  Fox  forces  are 
spending  twenty -five 
million  dollars  enlarging 
and  improving  their 
studio  at  Fox  Hills,  near 
Culver  City,  and  are  going 
to  shoot  all  their  pictures 
there  as  soon  as  they  can 
move  in.  Their  Holly- 
wood studio  will  be  given 
over  entirely  to  labora- 
tory work.  The  Fox  1930 
program  is  a  notable  one. 


20 


Stars  and  Their  Hollywood  Activities 


The  best  matinee  idol  story  ever  told  is  now  going  the 
rounds  in  Hollywood. 

A  pretty  young  -matron,  name  unknown,  went  into 
Jim's  Beauty  Parlor.  She  was  extremely  fussy  about 
the  way  her  hair  teas  to  be  done.  Just  this , way  and 
that  iriay.  She  had  a  facial  and  a  manicure.  The  girl 
%vho  attended  her  was  much  impressed.  She  said,  "Well, 
you  surely  must  have  a  big  date  tonight,  the  way  you're 
(jetting  yourself  all  fixed  up."  The  pretty  matron  smiled 
happily  and  said,  "Yes,  I'm  going  to  see  Chevalier's  new 
picture." 

t^DDIE  LOWE  has  been  up  at  Pebble  Beach  on  loca- 
tion  for  a  month.    His  wife,  Lilyan  Tashman,  was 
working  so  hard  that  she  had  to  stay  home.     But  she 
drove  up  to  make  the  return  journey  with  him. 


T  T'S  a  wonderful  sight  to  watch  George  O'Brien  and 
his  father  on  the  beach  at  Malibu.  Dan  O'Brien, 
for  many  years  chief  of  police  of  San  Francisco,  is  just 
as  husky  as  his  son  and  can  still  keep  up  with  him  at 
swimming,  hiking,  tennis  and  even  take  a  part  in  the 
basketball  games  on  George's  tennis  court.  They  do  a 
little  boxing  together,  too,  and  if  it  ever  got  serious 
George  would  have  his  hands  full. 


AS  soon  as  the  final  version  of  "Madame  Du  Barry"  is 
"^  ready,  Norma  Talmadge  is  leaving  for  Europe.  She 
will  spend  the  summer  at  Antibes  and  other  places  in 
France,  visiting  her  friend,  Mrs.  Ben  Troop  (Rubye  de 
Reiner).  Mrs.  Leslie  Carter,  who  made  "Du  Barry" 
famous  on  the  stage  some  years  ago,  has  been  on  the  set 
with  Norma  during  the  entire  filming  of  this  picture. 
She  has  coached  Norma  in  speaking  the  lines  just  as 
Laura  Hope  Crewes  coaches  Gloria  Swanson. 


expect  a  visit  shortly,  as 
do  Mr.  and  Mrs.  "Sheets" 
Gallagher.  And  report 
from  New  York  says  that 
the  former  Florence  Vi- 
dor,  now  Mrs.  Jascha  Hei- 
fetz,  will  soon  become  a 
mother. 


First  National  is  spend- 
ing three  and  one-half 
million  dollars  enlarging 
its  studios. 


Norma  Talmadge:  Plans  to 
V/TRS.  PATRICK  spend  her  vacation  at  Antibes 
iV1      CAMPBELL,  one      after  completing  "Du  Barry." 

of  the  most  famous  stage 

actresses,  is  now  in  Hollywood  and  is  fast  becoming  the 
idol  of  the  younger  set.  They  gather  around  and  listen 
by  the  hour  to  her  tales  of  the  great  days  in  London 
and  her  memories  of  Oscar  Wilde,  Sarah  Bernhardt, 
George  Bernard  Shaw,  and  all  the  great  figures  of  the 
reign  of  Edward  VII.  Saw  Lilyan  Tashman,  Colleen 
Moore,  and  a  group  of  girls  sitting  at  her  feet  one  Sun- 
day— and  it  takes  something  to  do  that  in  Hollywood. 

JT  VELYN  BRENT  has  gone  to  Alaska  to  play  in  "The 
Silver  Horde,"  which  George  Archainbaud  is  di- 
recting.     Louis   Wolheim   has   gone   along.      That's   a 
break — to  be  sent  to  Alaska  for  a  month  in  the  summer. 


The  first  part  Loretta  Young  ever  played  ivas  with 
Colleen  Moore  in  "Naughty  But  Nice." 


Vic  McLaglen  proclaims  he  is  getting  kincla  tired  of 
being  tied  up  with  that  "Sez  you,  sez  me"  business. 
Every  time  he  opens  his  mouth  some  original  wit  cracks 
at  him  "sez  you,"  and  then  gets  peeved  if  Vic  does  not 
come  back  with  "Yeah,  sez  me." 


QLORIA  SWANSON  was  seen  playing  on  the  beach 
^^     at  Malibu  with  her  little  daughter  and  her  stal- 
wart little  son.    All  of  them 
tanned  copper  brown. 

Miss  Swanson  declares  em- 
phatically that  there  isn't 
the  slightest  chance  of  a  di- 
vorce between  herself  and 
the  Marquis  de  la  Falaise. 
Tbey  will  soon  be  together 
in  New  York.  Gloria  is  look- 
ing unusually  beautiful  these 
days. 


TZ-ING  VIDOR  and  Eleanor 
Boardmau  have  a  new 
baby  daughter.  The  young- 
ster hasn't  been  named  yet. 
This  is  the  second  child  in 
King  Vidor's  family.  Tbe 
stork  seems  to  be  busy  around 
Hollywood  these  days.  Mr. 
and  Mrs.  Robert  Montgomery 


F)0  you  remember  "Our  Girls"  club,  which  ten  years 
ago  was  formed  in  Hollywood?  Many  of  the 
younger  film  stars  belonged  to  it,  and  Mary  Pickford 
was  honorary  president.  The  membership  included  Mil- 
dred Davis,  Colleen  Moore,  Lois  Wilson,  Carmel  Myers, 
Helen  Ferguson,  May  McAvoy,  Billie  Love,  Lillian 
Rich,  and  Julanne  Johnstone  and  Carmelita  Geraghty. 
They  met  for  a  reunion  the  other  night  at  Carmel 
Myers'  new  home.     Ten  years  ago  none  of  them  was 

married  and  they  were  just 
beginning  to  be  known  on 
the  screen.  Much  has  hap- 
pened since  those  days  and 
they  had  great  fun  remi- 
niscing. Mary  Pickford  pre- 
sided. 


F)OLORES  DEL  RIO  is 
vacationing  before  start- 
ing "The  Dove."  She's  been 
down  the  California  coast  at 
Ensenada,  getting  a  lot  of 
sunshine.  Miss  Del  Rio  and 
Cedric  Gibbons,  head  of  the 
art  department  at  M.-G.-M. 
and  one  of  Hollywood's  most 
popular  bachelors,  are  being 
seen  about  together.  Miss 
Del  Rio  has  been  interviewed 
for  the  next  New  Movie. 

21 


The  Hollywood  Who's  Who— and  what  the 


Jeanette   Loff:    Sudden   seri- 
ous illness  prevented  her  from 
being    one    of    Sally    Eilers' 
bridesmaids. 


EJAROLD  LLOYD  says 
that  the  first  people 
outside  the  studio  who 
will  see  his  latest  picture, 
"Feet  First,"  will  be  450 
lepers  on  the  island  of 
Molokai  in  the  Hawaiian 
Islands.  He  was  deeply 
touched  by  what  he 
learned  about  the  poor, 
isolated  unfortunates  who 
are  merely  waiting  to  die 
— and  must  not  leave  their 
quarantined  isle. 

Incidentally  30,000  peo- 
ple gave  Harold  the  big- 
gest reception  ever  tend- 
ered anyone  in  Honolulu. 
This  mob  of  fans  met  him 


as    he    got    off   the    boat,    and   there    was    no    escape. 


HP  HE  family  of  Ann  Harding  has  owned  a  plantation 
in  Virginia  (near  Norton)  for  five  generations.  No 
tobacco  was  raised  on  that  plantation  because  the  Ver- 
millions  (Ann's  people)  always  believed  tobacco  "not 
nice"  for  women  and  therefore  refrained  from  planting 
any,  even  though  they  are  in  the  heart  of  the  tobacco 
country. 

Ann's  mother,  now  in  charge  of  the  property,  has 
finally  decided  that  smoking  for  women  is  all  right  and 
is  going  to  plant  good  old  "terbaccy."  Which,  inci- 
dentally, will  about  treble  the  income  of  the  plantation. 


rymore.    The  role  of  the  mother,  a  very  important  one. 
will  go  either  to  Mrs.  Fiske  or  Mrs.  Patrick  Campbell. 


Walter  Pidgeon  used  to  be  a  stock  broker  in  Boston 
but  went  broke.  He  took  to  singing  on  the  stage  to  re- 
coup. '  Now  he  is  in  Hollywood  and  lias  forgotten  all 
about  stocks. 


■yiVIENNE  SEGAL  gave  a  lovely  baby  shower  the 
v  other  night  for  Mrs.  "Skeets"  Gallagher.  The  table 
had  stork  decorations  and  the  ice  cream  was  made  in 
tiny  cradles  with  a  real  little  doll  in  the  middle.'  The 
girls  who  came  and  showered  Pauline  Gallagher"  with 
the  daintiest  gifts  for  the  coming  heir  or  heiress  were 
Mrs.  Bert  Wheeler,  Kathryn  Crawford,  Bebe  Daniels, 
Kathleen  Martin,  Alan  Dwan,  Carmen.  Pantages,  Sally 
Eilers,  Marie  Prevost,  Mae  Sunday,  Mrs.  Robert  Wool- 
sey,  Mrs.  Phyllis  Daniels.  Mrs.  Ben  Lyon,  Sr.,  and  Mrs. 
George  Butler  Griffen,  Bebe's  grandmother,  who,  as 
usual,  was  the  life  of  the  party.  Mrs.  Rosenthal  and 
Mrs.  Meyers,  Ben  Lyon's  sisters,  who  came  on  for  the 
wedding,  were  also  present. 


DHYLLIS  HAVER,  who  is  now  married  to  a  young 
New  Yorker,  Billy  Seaman,  and  has  retired  from 
the  screen,  made  a  recent  visit  to  Hollywood  and  was 
entertained  by  her  many  friends.  She  says  she  is  grow- 
ing to  love  New  York  but  still  loves  Hollywood  best, 
and  there  isn't  any  chance  that  she  will  return  to  the 
screen. 


T>  AMON  NOVARRO  has  just  returned  from  a  sojourn 
-^  in  East  Lansing.  Michigan,  where  he  went  to  take 
some  lessons  from  Louis  Graveur,  famous  singing 
teacher. 


$70,069,945  was  the  assessed  valuation  of  real  and 
personal  property  in  Hollywood,  in  1920.  Today  it  is 
$365,088,990.  a  gain  of  over  EIGHTY  THOUSAND 
dollars  a  DAY. 


Vivienne  Segal  claims  the  prize  telegram  of  the 
month.  It  came  from  New  York  during  one  of  the  re- 
cent stock  declines. 

"Your  broker  wants  ien  thousand  dollars  more  mar- 
gin.   What  do  you  suggest f  •  Love.    Mother."  it  read. 

"Suggest  anything  they  will  let  you  use  for  ten  thou- 
sand dollars.    Love.    Vivienne."    Vivienne  wired  back. 


T  OriS  BROMFIELD,  the  novelist,  came  to  Holly- 
wood  to  write  an  original  story  for  Ronald  Colman. 
After  two  months  in  the  film  capital  he  has  departed 
for  Paris  to  write  the  story.  He  says  it's  too  difficult 
to  work  in  the  confusion  and  excitement  of  Hollywood. 
When  he's  finished  the  story  he's  going  to  bring  it  back 
to  Sam  Goldwvn. 


DENEE  ADO-REE 
has  returned  to 
her  Hollywood  home, 
after  several  months 
in  a  sanitarium.  She  is 
much  better. 


TNA  CLAIRE  is  to 
play  the  leading 
role  in  Paramount'* 
production  of  "The 
Royal  Family"  on  the 
screen.  It's  a  great 
part  and  will  give  Ina 
a  real  chance — her  first 
— on  the  screen.  The 
part  is  s\ipposed  to 
have  been  suggested  by 
the  life  of  Ethel  Bav- 


DESSIE  LOVE  is 
fully  recovered 
from  a  recent  illness. 
Back  at  the  studio, 
Bessie,  who  is  now  Mrs. 
William  Hawks,  appar- 
ently is  finding  married 
life  entirely  to  her 
taste.  She  and  her  hus- 
band appear  to  be  very 
happy  and  devoted. 


WARNER  BROTH- 
ERS were  shoot- 
ing a  picture  which  re- 
quired the  hero  to  wear 
several  important  Brit-* 
ish  war  medals.  A 
meek  and  lowly  prop- 


22 


film  famous  are  doing  in  the  Movie  Capital 


erty  man  on  the  set  offered  to  lend  the  hero  his,  and  the 
astonished  director  saw  produced:  the  French  Croix 
de  Guerre,  the  British  Military  Medal  for  bravery,  the 
1914  Mons  Medal,  the  British  War  Medal  with  the 
"mentioned  in  dispatches"  leaf;  and  the  Allies  Medal. 

Jock  More,  the  owner  of  these  trinkets,  was  a  sergeant 
in  the  Highland  Light  Infantry  (a  kilt-wearing  regi- 
ment) and  saw  four  years  of  the  rough  stuff  in  France. 

And  the  director  of  the  picture  is  Michael  Curtiz, 
who  was  an  officer  in  the  Austrian  Army. 


There  arc  22,700  movie  theaters  with  a  total  seating 
capacity  of  about  11,000,000  in  the  United  States. 


^TOM  MIX'S  daughter,  Ruth,  who  has  been  living 

with    her    mother,    Tom's    ex-wife,    ran    away    and 

married  an  actor,  Douglas  Gilmore,  in  Yuma,  Arizona. 


Mme.  Ernestine  Schumann-Heinle  ivas  paid  $6,000 
for  one  week's  singing  at  the  Boxy  Theatre  in  New  York. 
During  the  week  she  celebrated  her  seventy-first  birth- 
day. 


CANFORD  RICH,  first  mayor  of  Hollywood  (1903) 
died  June  10  in  Hollywood.  He  was  eighty-nine 
years  old.  He  first  came  to  Los  Angeles  in  1859  but 
returned  to  the  Middle  West  and  then  came  to  Los  An- 
geles for  keeps  in  1900.  Mr.  Rich  is  described  in  Herb 
Howe's  Outline  of  Hollywood  History,  published  else- 
where in  this  issue. 


Alf  ILTON  LACKAYE, 
famous  New  York 
stage  actor,  is  in  Holly- 
wood on  a  visit  and  says 
he  has  no  intention  of  go- 
ing into  the  movies. 
Which  makes  him  a  rare 
bird  indeed. 

Slow  motion  'pictures 
are  being  used  by  the 
French  army  to  teach  re- 
cruits exactly  how  to  drill 
and  perform  their  man- 
ual of  arms. 


M 


Evelyn  Brent:  In  Alaska  for 
a  month  playing  the  heroine 
of  "The  Silver  Horde." 


[ANY  letters  pile  in  to 
prove  that  the  fans 
haven't  forgotten  William  Farnum  in  "The  Spoilers." 
Right  now,  Bill  is  playing  with  Norma  Talmadge  in 
"Du  Barry." 

"The  Spoilers'  "  location  up  near  Oxnard,  about 
seventy  miles  north  of  Hollywood,  is  the  scene  of  much 
activity.  And  they  do  say  that  all  hasn't  been  so 
peaceful.  Lot  of  stars  up  there  together — Gary  Coop- 
er, William  Boyd,  James  Kirkwood,  Kay  Johnson  and 
Betty  Compson.  They've  built  a  whole  Alaskan  vil- 
lage there. 


Fifi  Dorsay's  real  name  is  Yvonne  Lussier.     She  was 
born  in  Montreal. 


CINCE  peace  terms  have  not  been  adjusted  with  Janet 
Gaynor,  the  Fox  studios  are  having  quite  a  time  in 
finding  someone  who  can  take  Janet's  place  in  the  Far- 
rell-Gaynor  team.  They  have  considered  Rose  Hobart, 
of  the  New  York  stage,  as  well  as  Maureen  0' Sullivan, 
Joyce  Compton  and  Mona  Maris.  But  wise  old  Holly- 
wood wags  its  head  and  winks.  There  is  only  one  Gay- 
nor and  she  fits  with  Charlie  Farrell  as  no  one  else  will. 


QHARLIE  FARRELL  is  the  latest  addition 
Malibu  Beach  colony.     He's  bought  a  lot 
next    door    to    George    O'Brien.      Expects    to 
immediately. 

The  romance  of 
Charlie  and  Vir- 
gin i  a  Valli  is 
blooming  again. 
To  fact,  Charlie 
sort  of  intimated 
that  there  might 
he  real  news  be- 
fore many  months 
have  passed.  They 
are  always  togeth- 
er. Anothercouple 
whose  engage- 
ment is  likely  to 
be  announced 
shortly  is  Carey 
Wilson,  one  of  the 
leading  scenario 
writers,  and  Car- 
melita  Gerasditv. 


to  the 

almost 

build 


X/TARILYN  MILLER  works  three  hours  a  day  at 
her  dancing  with  Theodore  Kosloff,  the  great 
Russian  dancer.  After  her  next  picture.  Miss  Miller 
will  return  to  New  York  for  a  stage  production  in  the 
Fall.  Did  you  know  that  Marilyn  is  the  highest 
priced  musical  comedy  star  ever  to  play  on  Broadway  ? 


PHERE  are  two  big  parts  opposite  women  stars — 
really  co-starring  parts — for  which  Douglas  Fair- 
banks is  in  great  demand.  Both  the  girls  and  the  pro- 
ducers think  no  one  could  do  these  parts  as  well  as 
Doug.  One  is  with  Bebe  Daniels  in  Irving  Berlin's 
"Reaching  for  the  Moon."  The  other  is  the  role  oppo- 
site Dolores  Del 
Rio  in  "The 
Dove."  Since 
these  are  both 
great  stories  and 
big  productions, 
and  since  t  h  e 
parts  are  so  good, 
Mr.  Fairbanks 
may  consider 
them.  If  he  re- 
fuses, it  is  prob- 
able that  Walter 
Huston  will  be 
with  Miss  Del  Rio 
and  Jack  Whiting 
will  get  the  cov- 
eted part  with 
Miss  Daniels.  Mi-. 
{Continued,  on 
page  96) 

23 


Home  Town  Stories 


Freeman  Fisher 
Gosden,  of  Rich- 
mond, Va.,  known 
to  fame   as  Amos. 


TELEPHONE  service  in  Richmond  is  at  a  stand- 
still for  fifteen  minutes  every  day*  except  Sunday. 
For  a  time  attendance  at  supper  meetings  of  the 
Rotary,    Civitan,    Kiwanis,    Monarch,    First    and 
other  civic  clubs  dwindled  to  such  an  extent  that  busi- 
ness could  not  be  transacted.     Church  socials  had  to  be 
set  at  a  later  hour.    Golf  courses, 

tennis  clubs,   and  the  like  even 

now  are  almost  deserted  long  be-     j 
fore  darkness  would  put  an  end 
to  play. 

The  telephone  service  gets  no 
better,  despite  the  best  efforts  of 
the  company  officials.  The  few 
persons  who  do  try  to  make  a 
call  almost  invariably  are  told: 
"Party  doesn't  answer."  The 
civic  clubs,  however,  have  reme- 
died their  troubles.  Radio  re- 
ceiving sets  have  been  installed 
in  all  club  rooms.  This  was 
necessary  because,  during  the 
months  of  Daylight  Saving  Time, 
Amos  'n'  Andy  broadcast  earlier 
in  New  York.  Every  citizen  of 
Richmond,  old  and  young,  sick 
and  well,  men  and  women,  rich 
and  poor,  white  and  black,  in- 
sist on  being  within  hearing  of  a 
loud-speaker.  And  they  will  not 
be  interrupted. 

Amos  'n'  Andy  are  on  the 
air.  Amos  is  a  Richmond  boy, 
and  many  of  his  listeners  are 
persons  who  "knew  him  when — -" 
He  is  best  remembered  as 
"Curley,"  a  light-haired  young- 
Andy   is    holding    forth    on    a 

new  efficiency  idea  while  Amos 

listens  with  some  doubt.    Note 

Andy's  business  charts  on  the 

wall.    The  taxi  stands  outside. 

The  'phone   may   ring   at   any 

moment — and   the   voice    may 

be  that  of  Madam  Queen,  Ruby 

Taylor  or  the   Kingfish.    Or  it 

may   be   Pat   Pending.     If   so, 

Andy    had    better   check    and 
double  check. 


THIS  Y'ERE'S  AMOS 

By 

F.  J.  McDermott 

of  The  Richmond  Times  Dispatch 

of  Richmond,  Va. 


ster  given  more  to  pleasure  than  business.  But  much 
has  been  said  and  written  about  Freeman  Fisher  Gos- 
den since  he  and  Charles  J.  Correll,  (Andy),  attained 
national  fame.  First,  let's  talk  about  "Snowball,"  and 
then  about  his  influence  on  Gosden's  career. 

"Snowball"  is  the  prototype  of  "Amos."  He  is  the 
inspiration  of  many  episodes  of  "Amos  'n'  Andy"  and 
is  none  other  than  "Sylvester,"  the  lovable  lad  in  some 
of  their  sketches.  "Snowball"  is  Garrett  Brown  in  pvery- 
day  life.  His  life  is  an  every-day  affair  and  his  hours 
are  long.  But  the  long  hours  are  of  his  choosing.  He 
is  without  a  radio  of  his  own  and,  come  what  may,  his 
employers  are  unable  to  get  him  to  go  home  until  the 
daily  broadcast  of  Amos  'n'  Andy  is  finished. 

Garrett  is  living  again  his  early  life  in  the  Gosden 
home.  "Curley"  Gosden  was  the  youngest  of  four 
children.  Up  to  ten  years  of  age  he  was  just  the  average 
boy;  perhaps  a  bit  too  retiring  and  maybe  just  a  wee 
bit  "goody-good."     A  sister     {Continued  on  page  106) 


24 


of  AMOS  'n'  ANDY 


THIS  AM  ANDREW  BROWN,  PRESIDENT  OF  THE 
FRESH  AIR  TAXICAB  COMPANY  OF  AMERICA,  INCORPOLATED 

By 

Robert  R.  Goldenstein 

of  The   Peoria,  III.,  Journal  Transcript 

MOST  great  men  can  point  with  pride  to  the  fact 
that  they  began  their  careers  as  newspaper  car- 
riers, but  Charles  J.  Correll,  better  known  per- 
haps as  Andy  of  Amos  'n'  Andy  to  hundreds  of 
thousands  of  radio  listeners,  can  go  them  even  one  better. 
Yes,  he  was  a  carrier  boy,  but  in  addition  he  was  an 
usher  in  a  theater  house  and  amateur  actor  at  the  same 
time.  He  hiked  over  his  route  in  the  morning,  took  part 
in  plays  along  with  his  school  duties  and  worked  as  an 
usher  in  a  theater  at  night.  While  no  accurate  account- 
ing of  his  spare  time  can  be  had,  it  is  definitely  known 
that  he  did  not  study  the  intricacies  of  the  taxicab  busi- 
ness. The  horse  drawn  vehicle  was  the  mode  of  travel 
during  his  youth. 

On  February  3,  1891,  Charles  got  the  jump  on  two 
brothers  and  a  sister  and  was  the  first  child  born  to 
Mr.  and  Mrs.  Joseph  B.  Correll.  A  punster,  music 
lover  and  born  genius  at  wisecracking,  his  ability  at 
drama  blossomed  forth  at  an  early  age.     A  short  while 


— rr-a 


Charles  J.  Corre! 
of  Peoria,  III., 
known     to    tho 
world    as   Andy. 


if      \  riV-\V  s      ^ 


after  he  graduated  from  rompers  and  babyhood  to  knee 
trousers  and  boyhood,  he  was  given  his  first  chance  in 
a  play  at  the  Greely  School,  which  he  attended. 

The  play  had  to  do  with  fairies  and  ogres  and  wasn't 
exactly  to  Correll's  liking  but  he  gave  them  what  he 
had  and  "wowed"  them.  He  was  made  and  from  then 
on  was  given  minors  and  leads  in  school  productions. 

While  Charles  labored  over  his  route  with  a  paper 
sack,  picking  up  spending  and  saving  money,  a  proud 
family  was  racking  its  brain  over  the  choice  of  a  career. 
The  senior  Correll,  a  brick  mason  contractor,  held  that 
his  son  should  be  allowed  to  choose  his  own  vocation  but 
agreed  with  Mrs.  Correll  that  he  should  study  the  piano. 

Charles  loved  music.  The  family  selected  Joseph 
Hornbacher,  piano  instructor  of  classical  music,  to  bring 
talent  to  the  surface,  but  all  did  not  fare  so  well. 

As  soon  as  Charles  learned  properly  to  glide  his 
fingers  over  the  keyboard,  his  creative  talent  asserted 
itself.  The  music  that  bounded  from  the  soundboard 
was  the  type  that  did  not  have  the  approval  of  the 
instructor. 

Lively  melodies  are  usually  associated  in  the  same 
category  with  clever  jokes  and  pranks  and  Charles  could 
give  them  either.  His  boyhood  friends  recall  countless 
incidents  in  their  early  lives  when  they  were  innocent 
victims  of  a  Correll  prank.  From  his  grade  school 
days,  until  he  became  associated  with  the  Joe  Bren 
Production  Company  of  Chicago,  his  friends  remember 
him  for  his  unusually  keen  sense  of  humor.  Dubbed 
then  as  "the  life  of  any  party,"  it  was  only  natural  that 
he  would  be  much  sought  after  at  parties. 

TLJAVING  mastered  the  piano  he  followed  through 
-*-  -*■  with  a  knowledge  of  a  buck  and  wing  and  tap 
dance.  Charlie  was  yet  in  the  lower  grades  of  the 
Greely  School  and  at  that  age  when  a  boy  maintains  an 
infinite  supply  of  reserve  pep. 

The  senior  Correll  describes  Charles  as  he  knew  him 
in  grade  school. 

"Full  of  pep  from  morning  to  night.  Trying  his  hand 
at  everything  and  always  on  the  go.  Charlie  comes 
home  and  when  the  front  door  opens  we  know  that  all 
the  peace  and  quiet  around  the  house  has  departed. 
He  would  toss  his  cap  on  a  stand  and  his  books  on  a 
chair  and  go  after  the  piano." 

While  attending  Peoria  High  School,  Mr.  Correll 
again  demonstrated  his  ability  as  an  actor  in  amateur 

plays  given  by  the  school. 

D     wi         u  He  served  as  leader  of  the 

**      '  High      School      orchestra 

J.  J.  Gould  (Continued  on  page  110) 


25 


Photograph  by  Russell  Ball 


On  the  page  opposite  Adela  Rogers  St.  Johns  tells  the  dramatic  story  of  Anna  Q.  Nilsson's  fight  for  health. 
On  May  1st,  1928,  Miss  Nilsson  was  thrown  from  a  horse  in  the  San  Bernardino  Mountains.  It  was  four  days  be- 
fore it  was  possible  to  get  the  motion  picture  star  to  a  hospital.  For  eight  months  she  was  in  a  hospital  in  Los 
Angeles,  unable  to  walk  without  crutches.  Four  months  ago,  at  Orthopedic  Hospital,  Los  Angeles,  doctors 
grafted  a  new  bone  to  Miss  Nilsson's  hip.  Recently  the  cast  was  removed  and  an  X-Ray  examination 
indicated  that  Miss  Nilsson  is  making  a  complete  recovery.  In  another  month  she  may  be  able  to  return  to 
pictures.     Meanwhile,  through  the  months  of  suffering  and  struggle,  Miss  Nilsson's  fan  mail  at  the  hospital  has 

been  remarkable.      Have  you  written? 


26 


I! 


Where  is  Anna  Q? 

For   Three   Years    Miss    Nilsson    has   Fought   the   Brave 
Battle  for  Health  and  the  Goal  Is  Now  Close  By 


By  ADELA  ROGERS  ST.  JOHNS 


NOT  long  ago  Grantland  Rice,  who  would  rather 
write  poetry  than  sports,  printed  some  splendid 
lines  which  my  husband  cut  out  and  pasted  in 
the    scrap-book,    where    we    keep    treasures    of 
thought  or  gems  of  fine  writing  which  otherwise  would 
be  lost  forever  when  the  current  magazines  and  news- 
papers go  to  start  the  fire. 

Two  of  the  verses  run  like  this : 

I  have  learned  something  worth  far  more 

Than  victory  brings  to  men, 
Battered  and  beaten,  bruised  and  sore, 

I  can  still  come  back  again. 
Crowded  back  in  the  hard,  fast  race, 

I've  found  that  I  have  the  heart 
To  look  rank  failure  in  the  face 

And.  train  for  another  start. 

Winners  who  wear  the  victor's  wreath, 

Looking  for  softer  ways, 
Watch  for  my  blade  as  it  leaves  its  sheath, 

Sharpened  on  harder  days; 
Trained  upon  pain  and  punishment, 

I've  groped  my  way  through  the  night, 
But  the  flag  still  flies  from  my  battle  tent, 

And  I've  only  begun  to  fight. 

If  Grant  Rice  had  known  Anna  Q.  Nilsson,  he  would 
have  dedicated  those  ringing  words  to  her  instead 
of  to  vanquished  athletes.  I  never  read  them  now  with- 
out  thinking    of    Anna    Q. 

Life  brings  us  contact 
with  many  people.  As  we 
grow  a  little  in  tolerance, 
wisdom  and  understand- 
ing, we  cease  to  judge  or 
to  label  anyone  with  defi- 
nite opinion.  But  every 
now  and  then  throughout 
the  years  a  man  or  woman 
crosses  our  path  and  wins 
a  place  before  which  we 
lay  the  tribute  of  untar- 
nished admiration.  When 
we  think  of  them  our 
hearts  quicken  with  new 
faith,  our  spirit  is  lifted 
by  the  beauty  of  their  ex- 
ample.   We  feel  shame  for 


Anna  Q.  Nilsson  as  she  is 
today,  waiting  in  the  sun  on 
the  lawn  of  the  Orthopedic 
Hospital  in  Los  Angeles  for 
the  final  cure  that  may  per- 
mit her  to  walk  unaided  for 
the  first  time  in  three  years. 
She  hopes  her  courageous 
fight  will  bring  her  back  to 
film   stardom. 

Photograph  by  International  Newsreel 


our  own  petty  protests  against  the  inevitable  buffeting 
of  fate. 

I  THINK,  above  everything,  I  admire  the  courage 
which  keeps  serene  and  sweet  in  the  face  of  bitter  dis- 
appointment, thwarted  ambition,  broken  dreams.  Per- 
haps in  Hollywood,  where  the  "hard,  fast  race"  of  life 
is  in  many  ways  harder  and  faster,  that  is  the  quality 
everyone  admires  most.  And  so  Anna  Q.  has  become 
an  inspiration,  a  symbol.  Hollywood's  own  daughter, 
Anna  Q.  has  looked  rank  failure  in  the  face.  And  always 
she  has  forced  you  to  see  that  in  spite  of  pain  and  pun- 
ishment, she  is  training  for  another  start. 

The  long  strain  of  hope  deferred,  the  rack  of  sleepless 
nights  when  no  dreams  soften  the  harsh  outlines  of  the 
future,  the  anguish  of  being  held  in  chains  while  others 
less  worthy  press  on  to  victory,  have  not  once  caused 
Anna  Q.  to  dip  her  flag  in  defeat. 

Always  she  smiles.  There  are  many  smiles.  The 
smile  of  the  martyr.  The  smile  of  the  envious.  The 
smile  which  begs  for  pity.  Anna  Q.'s  smile  is  as  real  as 
sunshine,  and  as  warm  and  as  natural.  Because  some- 
where, as  she  has  groped  her  way  through  the  night  of 
pain  and  fear  and  loss,  she  has  learned  to  find  happiness 
within  her  own  stout  heart. 

That  is  why  the  small,  white  hospital  room  where  she 
has  lain  for  five  long  months,  has  become  a  place  of 
refuge  to  many  a  hard-driven  harassed  star  of  the 
cinema.     That  is  why  in  that  {Continued  on  page  112) 


27 


Dick  Barthelmess  in  a  different  sort  of  role,  a  type  of  part  he  hasn't  played  since  Griffith's     Scarlet  Days.      Dick 
portrays  a  young  Spanish  rancher  who  is  wronged  and  becomes  El  Puma,  a  dashing  and  fearless  bandit.    El  Puma 
takes  Mary  Astor— and  rides  away  to  Mexico.    The  time  is  1850,  which,  if  you  read  Herb  Howe's  History  of  Holly- 
wood  in  this  issue,  you    will   know  was  long   before  the  coming   of  the  movies. 


23 


By 
POPULAR 

REQUEST 

Buddy   Rogers'  Mother  is 

Interviewed    About   her 

Son's   Ideal   Girl 

By  DICK  HYLAND 


JVTEW  MOVIE  received  hundreds  of  letters  comment- 
■*•  *  ing  upon  Dick  Hyland's  story  on  Buddy  Rogers- — ■ 
and  the  girl  he  seeks.  One  of  the  most  interesting 
came  from  Ruth  M.  Carter,  of  27  Lovell  Street,  Middle- 
boro,  Mass.     She  wrote: 

"Every  man  is  seeking  the  girl  of  his  dreams.  The 
basis  of  his  dreams  is  his  mother.  Naturally  he  com- 
pares every  girl  he  meets  with  his  mother.  I  am  certain 
that  you  will  find  Buddy's  mother  measures  up  to  all 
those  seemingly  absurd  requirements." 

Miss  Carter's  letter  was  forwarded  to  Mr.  Hyland 
and  this  month's  interview  with  Buddy's  mother  is  the 
result.  Our  thanks — and  a  check — go  to  Miss  Carter. 
If  you  have  interesting  ideas  about  the  contents  of 
New  Movie,  write  to  the  managing  editor.  You  may 
be  as  helpful — and  as  lucky — as  Miss  Carter. 

CHARLES  (Buddy)  Rogers,  and  the  girl  he  seeks, 
is  once  again  the  subject  up  for  discussion.     It 
has  to  be.    Because  it  seems  that  I  stumbled  into 
a    hornets'    nest    some    months    ago    in    writing 
about  that  one  bit  of  feminine  charm  Buddy  is  on  the 
lookout  for. 

"Buddy  is  a  chump  for  thinking  such  rot  and  you 
are  a  sap  for  writing  it."  That  line  was  in  one  letter 
I  received,  from  a  girl. 

"Tell  Rogers  to  take  a  jump  at  the  moon.  Maybe 
he  will  find  the  girl  he  wants  there."  That  was  in 
another  letter,  from  a  man. 

"Enclosed  is  a  picture  of  Mary.    I  know  she  is 
the  girl  Buddy  is  seeking."    It  was  a  drawing 
of  an  angel. 

"There  is  one  actor  with  sense,"  wrote 
a  man  from  Philadelphia.     "But  I  doubt 
if  he  will  ever  find   the   girl   he   wants. 
I  have  known  only  one  of  that  kind.    She 
is  my  wife  and  a  bit  too  old  for  me  to 
bother  about  competition  from  a  young- 
ster the  age  of  our  son." 

These  and  many  more  reactions  were 
shown  in  the  letters  the  story  provoked. 
But  the  thing  that  dumbfounded  me  was 
that  eight  out  of  every   ten   believed   it 
impossible  for  Buddy  to  find  the  girl  he 
wanted.    That  the  girl  did  not  live  who  had 
the  characteristics  he  enumerated,  and  which 
I    will    mention    again    in    a    moment.      And 
they    seemed    to    think    that     he    was     asking 
for    more    than    any    man    had    a    right    to    expect 


A  woman's  job,  first  of  all,  says  Buddy's  mother,  Mrs. 
Rogers,  "must  be  to  make  the  man  who  is  her  life  part- 
ner happy.  She  must  aid  him  in  his  work  by  giving  him  a 
happy  home  life.    And  that  is  a  real  woman's  happiness." 

THEN  came  the  letter  which  accompanies  this  story. 
Ruth  M.  Carter,  from  Charlie  Farrell's  home  state 
of  Massachusetts,  gave  an  answer  which  sounds  so 
simple  I  wonder  that  I  did  not  mention  it  in  the 
previous   story. 

She  says  Buddy's  mother  is  his  model.    That  it  is  the 
counterpart  of  her  he  seeks. 

He  did  not  mention  his  mother  at  the  time  we  talked. 
But  he  did  say  that  the  girl  he  wants  must  have  per- 
sonality, must  be  reasonably  good  looking,  must  possess 
a  sense   of  humor,  be   a  good  listener  and  sym- 
pathizer.    He  said  that  she  must  not  wear  too 
much  make-up  and  must  never  stage  jealous 
scenes. 

With  Ruth   Carter's  letter  to  guide  me  I 
decided    to    do    a    little    private    snooping 
and  see  just  how  correct  she  was  in  her 
surmise. 

I  had  met  Buddy's  mother  only  once.     It 
was  two  years  ago  on  her  first  trip  to 
Hollywood.    Buddy  brought  her  to  a  Sun- 
day afternoon  tea  given  by  Bebe  Daniels. 
I  presented   her  to  my  mother  and   will 
never  forget  her  quick,  "Oh,  I  am  so  glad 
you  are  here.      I  feel — well,   there  are  so 
many  younger  and  famous  people  here.    And 
1  don't  know  any  of  them."    It  was  in  char- 
acter   that    she    did    not    think    of    her    son, 
Buddy,  as  being  one  of  the  most  famous.     To 
her  he  was  just  Buddy,  then  and  forever,  which 
is  perhaps  what  he  prefers  to  be. 

29 


The    Story  of  a   Real    25-Year  Kansas    Romance 


C  HE  sat  off  on  one  side 
^  of  the  room  all  during 
the  tea.  Her  eyes  spark- 
ling, she  smiled  and  talked 
with  my  mother,  who  told 
me  afterwards,  "Mrs. 
Rogers  is  such  a  sweet 
person  and  so  understand- 
ing. She  made  the  day 
a  very  pleasant  one  for 
me."  You  see,  it  was  my 
mother's  first  time  at  a 
Hollywood  party,  too. 
And  one  must  be  con- 
siderable of  an  egotist  to 
walk  into  a  group  consist- 
ing of  Bebe  Daniels,  Con- 
stance Talmadge,  Ben 
Lyon,  Lila  Lee,  Billie 
Dove,  Howard  Hughes, 
Joe  Schenck,  Betty  Comp- 
son,  Buster  Keaton,  Louis 
Wolheim,  Norma  Tal- 
madge and  two  dozen  oth- 
ers just  as  famous — and 
not  feel  a  bit  self-con- 
scious. 

That  single  meeting 
gave  me  an  excuse  to  visit 
Mrs.  Rogers.  She  showed 
her  poise  at  once  by  ap- 
pearing not  at  all  sur- 
prised. We  sat  in  her  liv- 
ing room  and  talked  of 
little  things  until  I  could 
lead  the  conversation 
around  to  Olathe,  where 
Buddy  was  raised.  From 
that  it  was  an  easy  step  to 
her  marriage  with  Bert 
Rogers,  Buddy's  father. 

She  smiled  and  the  light 
of  reminiscence  came  into  her  eyes  when   she   spoke. 

"Bert  was  getting  seventy  dollars  a  month  teaching 
school,"  she  said,  "but  it  was  enough  and  we  were 
happy,  even  if  it  was  a  bit  hard  at  times." 

"But  you  didn't  mind?"  I  said. 

"Oh,  no,"  she  said  simply.  "You  see,  in  my  day, 
it  was  considered  an  honor  and  a  privilege  to  be  a 
good  wife.  That  was  a  woman's  business  and  a  very 
fine  one  it  was." 

"Just  what  do  you  consider  a  woman's  real  job?"  I 
said. 

Her  answer  was  simple  as  it  was  all-embracing. 

"Why,  a  woman's  job,  first  of  all,  must  be  to  make 
the  man  who  is  her  life  partner  happy  and  to  aid 
him  in  his  work  by  giving  him  a  happy  home  life." 

"But  if  that  is  so,"  I  said,  "where  does  her  fun 
come  in?  What  does  she  get  out  of  life?  Because 
making  a  man  happy  is  almost  a  twenty-four-hour-a- 
day  job." 

"TV/TY  boy,"  she  smiled  at  me,  and  I  thought  that  had 
1V-1  I  not  been  blessed  with  the  one  I  have,  I  would 
sooner  have  this  gray-haired  lady  for  a  mother  than 
any  woman  I  had  ever  met,  "my  boy,  that  is  a  real 
woman's  happiness.  All  these  modern  innovations 
can't  change  what  the  Lord  intended  when  he  created 
man  and  woman  to  be  one.  Nothing,  I  am  sure,  can 
give  any  girl  the  satisfaction  and  the  pleasure  that 
comes  from  making  the  man  you   love   happy. 

"We  didn't  talk  so  much  about  those  things  when  I 
was  a  girl.  We  took  them  for  granted.  It  is  not  as 
difficult  as  it  sounds,  when